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Jesse_Dylan

What would your Signature Edition Gibson be?

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Mine would be an SJ-200, sitka spruce top, but the back/sides/neck would be American cherry (grown right around here, I believe, as is sitka spruce).

 

If I could get away with it, I'd have cherry for the fingerboard and bridge, too, but I wonder if it would be hard enough, as it is slightly less hard than walnut. (Walnut seems to do fine on my J-15, though.) If not cherry, maybe I could have some other local wood, and bake it like they sometimes do with maple.

 

Neck would be a laminate like the current SJ-200 neck.

 

And finally, the finish on the back/sides/neck/top would be a transparent cherry sunburst.

 

Might use torrefaction on the whole thing, too, if not just the top.

 

And just to be weird, I might try to get them to do what Ren did with the L-200 and find a way to push the bridge down some on the body, or possibly use a 12-fret neck on a 14-fret body, which would also push the bridge down (Martin did this with a few signature editions, and I have seen 12-fret SJ-200s that seem to do this).

 

Boom. Mic drop. Sounds like it would cost a fortune, though, despite using sustainable wood.

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I am an L-00 addict....soooooo, it would be an L-00 with Adi top, Maple b/s, ebony fretboard ,bound with EVO frets, Old paddle head with 30's logo, Waverly open back tuners with cream oval buttons to match the cream 4 ply body binding, 14 fret, rectangular MOP, abalone rosette, bubinga back center strip and end strip , K@K mini, 3.75 lower bout depth, Kimsified bracing, Ultra thin Nitro finish. All for under $2000 :) street

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Sheryl Crow already has my signature model.

Played on about three years ago that just grabbed me.

It was the best off the rack guitar I have ever heard and played.

Don't think I could come up with a better combo for a Southern Jumbo.

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Rosewood J-185, dark walnut top 'burst, vintage Maltese cross bridge, gold hardware, single ring tulip buttons, satin hog neck with full C profile, 1 3/4 rosewood board with traditional split inlays, slanted 'The Gibson' pearl peghead logo, well-detailed bronc rider pearl peghead inlay, ebony peghead overlay, black truss rod cover w/wide white border, brown tortoise batwing firestripe pickguard, plain unbleached bone bridge pins and end pin, off-white body and fingerboard binding, traditional J-185 scale. I've thought about this previously....

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Jesse's Signature Edition sounds perfect, I am placing my order. All I'll need to do is change the pickguard, truss rod cover, get a bone nut and saddle, maybe some different tuners…. [flapper]

 

Seriously, I don't "get" the whole idea of signature editions. Never had the slightest interest in any of them.

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Sheryl Crow already has my signature model.

Played on about three years ago that just grabbed me.

It was the best off the rack guitar I have ever heard and played.

Don't think I could come up with a better combo for a Southern Jumbo.

 

Ditto, Southern Jumbo.

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Here goes ,

J45 body , slope shoulder .V neck shape satin finish .Slot head headstock .Open slot head tuners Rosewood back and sides .AAA bear claw spruce top Maple and rosewood binding . Ebony fretboard and bridge .Clear pickguard.LBaggs Anthem .Snowflake position markers

 

.Finish - satin vintage stain msp_thumbup.gif

 

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My signature edition Gibby would be a J50, with Waverly creme tuners, torrefied Sitka top, a batwing guard, and a cattle skull inlay on the headstock. Kind of like the Eagles Greatest Hits skull.

cattle_zpsthrenw9v.jpg

 

It would have a K&K pickup in it, come in a tweed case.

It would have Themis Sal "arc-ed" on the bass side of the guitar.

It would cost $5,000 street, with $500 going to a charity, $2500 going to Gibson, and $2000 going to me, for each guitar sold.

You're welcome Don!

 

Wait... Maybe that's kind of greedy. Give the charity $750 and I'll reduce my cut to $1750.

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Until they changed the name recently, I already had my signature guitar...Gibson Blues King [biggrin]

 

 

So the new Gibson Blues King Ancient Model would be:

 

L-00

 

Mahogany B/S thinned

 

Adirondack top (torrefied) and also thinned, scalloped torrefied adi bracing

 

Ebony Bridge, Ebony Fretboard with Crossroads inlay 12th fret

 

1 3/4" ebony Nut, 2 3/8" Bridge spacing

 

Waverly open gear nickel tuners, ebony oval knobs

 

Ebony finish/Firestripe pickguard

 

New Fishman Aura one image pickup system recorded from actual guitar and installed

 

 

That will do it for the specs for now, but liable to fine tune.... [glare]

 

 

 

BluesKing777.

 

 

 

 

 

Edit: I could always get a spray can of black on to my already owned L-0 with similar specs already...and use a soundhole Fishman pickup I also own..... I may even have some black paint i used on a touch up of a table...no money down! [flapper]

 

 

L-0March4_zpszwoboskr.jpg

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Think I would like a TV Bird with neutral, but transparent caramel/tortoise pickguard. The hue's gonna be so warm the guitar can't be played on a summer day.

 

I recall we had a thread more or less like this once and back then I fabled about an alternative lesser blinged/pale Firebird.

 

Now is the chance to dream up something else -

 

I go for a square shaped rosewood back'n'sides short scale, , , with cedar top.

 

Like the body, the neck will have aged bindings plus diamond-shaped mop fret-marks a'la the long forgotten 90's J-1000. So will the headstock with one as well. Straight contemporary logo in mop.

 

Back'n'sides are rather dark and the top hue will be natural, but tinted almost like a Spanish guitar. Back has an Indian-stripe in cream, green and purple (in that order).

 

An ordinary double ring black'n'white square rosette starting with whites has one third covered by a traditional transparent caramel/tortoise 3-point pickguard like mentioned above.

 

Tuners are greenish tulips - golden version.

 

Normal up-belly bridge - pins yet to be chosen. The case must come in cream/light-brown with bottle-green interior.

 

There we go. .

 

Oouh, , and on the top we'll see 3 or 4 spots of mysterious 'silking'.

 

And sure, , , it's a scalloped X.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Mine would be a L 200 Emmylou Harris (new version) with 5A koa (From Ren Ferguson's stash)top ,back and sides

Red Spruce bracing and fully hide glued ! No electronics

Limited Edition of 25 and all left handed (Revenge)

 

 

 

 

 

JC

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Sheryl Crow already has my signature model.

Played on about three years ago that just grabbed me.

It was the best off the rack guitar I have ever heard and played.

Don't think I could come up with a better combo for a Southern Jumbo.

 

+2, I love a nice Southern Jumbo. I have a J-200 standard that could be an option for my signature model.

 

I would have to go with a Southern Jumbo though.

 

It would have to have Waverly tuners!

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J-35 with walnut back and sides. Which is not a J-15 (different bracing, neck, rosette...).

 

My 2014 J-35 is the real keeper for me and I'd love to have a walnut version, although I doubt it would be as lightweight as my 35 is.

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Seriously, I don't "get" the whole idea of signature editions. Never had the slightest interest in any of them.

Me neither, but this is different; it's "your" sig. edition! Not Bob's or Eric Claptons or whomever's... no one's dirty signature on them either (unless you want it there, although it would be weird to have Bob Dylan and Eric Clapton's signatures on your signature edition)

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A vintage correct Gibson Everly Brothers guitar. There are a lot of unique things to the construction that Gibson does not do today on the reissues.

 


  •  
  • Spruce top
  • Shallow depth maple sides (not like reissue J180s and J185s) and flat back (Gibson will arch them now)
  • Mahogany Neck
  • 60s swirl tortoise pickguard - the new ones look nothing like the originals
  • Lacquer over the pickguards - in the 90s they lacquered the guitar then put the pickguards on. More recently with the BJA models they used a template to get the outline of the pickguard. In the 60s they masked the pickguard and lacquered right over it. It allows the brown/red of the tortoise pickguard to shine through.
  • Pinless Bridge with ADJ saddle (they've never reissued this in the US)
  • Nickel waffle back tuners
     

 

Modern Improvements


  •  
  • Pickguards that don't shrink!
  • Score the edge of the pickguard if you're going to lacquer over it.
  • Trance Audio pickup on the bridge plate as an option.

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My signature edition Gibby would be a J50, with Waverly creme tuners, torrefied Sitka top, a batwing guard, and a cattle skull inlay on the headstock. Kind of like the Eagles Greatest Hits skull.

cattle_zpsthrenw9v.jpg

 

It would have a K&K pickup in it, come in a tweed case.

It would have Themis Sal "arc-ed" on the bass side of the guitar.

It would cost $5,000 street, with $500 going to a charity, $2500 going to Gibson, and $2000 going to me, for each guitar sold.

You're welcome Don!

 

Wait... Maybe that's kind of greedy. Give the charity $750 and I'll reduce my cut to $1750.

 

Sal,

 

Sounds like you're ready to go cowboy on us.

 

4BCA7350-2FCC-4277-9127-0AE85A0EEC9E_zpsgmqaqmjv.jpg

 

 

 

 

 

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Never been a big fan of "signature" guitars. Too much money because it's a "signature" model and quite often it's not actually identical to what the artist played or the artist played the model relatively few times in comparison to other guitars. Anyway, for what it's worth, mine would likely be a standard Hummingbird, J45, AJ, or Super Jumbo. More likely than not I'd choose the Hummingbird. I simply don't hear/see/feel any major differences between all the variations of each model. They all sound great and would be easy to live with......Now, that cattle skull inlay on the headstock----I could live with that too. [thumbup]

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I'd go with a mahogany back & sided J-185 with a 'burst adi top. 1 3/4" hog neck with a rosewood board (and bridge).

Keep the standard inlays, cream button Waverlys, no pickup. No trouble.

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Is this thread about a signature guitar or a dream guitar? No matter, just dust off the 1964 J50 blueprints and crank one of those out for me, please!

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J-185 shape and size; no cutaway.

 

Mahogany neck with walnut-lined maple splices (so a 9-piece); rosewood fretboard with dot inlays, white binding; all natural finish.

Sitka top; light quilt maple back and sides (finished in a dark cherry colour); white binding again.

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For me it would be a CF-100e, Adirondack over black walnut voiced for light gauge strings. All hide glue construction. Lollar P-90 in the same shape and mounted as per the original Gibson style. Sunburst finish with a 1 3/4 inch bone nut and Waverly tuners with oval, cream buttons. Bone saddle and pins. Genuine mother of pearl crown/thistle inlay in headstock per original and MOP Les Paul style fretboard inlays per original. Brazilian rosewood fretboard and bridge with grained ivoriod fretboard binding. Mahogany neck. Bone strap button on neck and end block with the plug in jack seperately mounted in the end block so the strap in no way is involved with plugging in.Varnish finish a la Collings for that vintage vibe.That should about do it.

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J-185 shape and size; no cutaway.

 

Mahogany neck with walnut-lined maple splices (so a 9-piece); rosewood fretboard with dot inlays, white binding; all natural finish.

Sitka top; light quilt maple back and sides (finished in a dark cherry colour); white binding again.

 

 

 

 

This one sounds like a real winner! I'd go with a little bling on the fret markers though - maybe the 'snowflake/lucky charm' abalone - to make it a little obvious it's a custom or a 'signature'.

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Well if I were to put my name on a Gibson it would be a CJ165. Rosewood back and sides cedar top ebony fret board and gold hardware, as near as you can get to a Martin 00028.

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This one sounds like a real winner! I'd go with a little bling on the fret markers though - maybe the 'snowflake/lucky charm' abalone - to make it a little obvious it's a custom or a 'signature'.

 

I could do a bit of bling I guess; crescent moon inlays or the Gibson split parallelogram. Not a fan of the 200 crowns. Gretsch thumbnails would also be a contender.

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