pippy Posted February 7, 2017 Share Posted February 7, 2017 Wow! What company made those?... Sorry I didn't see the question earlier but thankfully Searcy answered fully! Interesting sound-clip you found, too! So the action of the strings touching the frets completes a(n electronic?) circuit somehow?......weird! I wish the b'g music was much quieter, though..... SG Zoot Suit... I wasn't a fan of the really garish ones but I was quite taken by the much more subdued 'Black and Neutral' version seen here; http://archive.gibso...Finish-Shot.jpg With a couple of chrome p'up covers and a pair of black 'rings it would be, IMO, a rather cool - and funky-looking - instrument to own. I wonder how many examples of these they sold in the UK?........ Pip. Link to comment Share on other sites More sharing options...
Searcy Posted February 7, 2017 Author Share Posted February 7, 2017 Sorry I didn't see the question earlier but thankfully Searcy answered fully! Interesting sound-clip you found, too! So the action of the strings touching the frets completes a(n electronic?) circuit somehow?......weird! I wish the b'g music was much quieter, though..... I wasn't a fan of the really garish ones but I was quite taken by the much more subdued 'Black and Neutral' version seen here; http://archive.gibso...Finish-Shot.jpg With a couple of chrome p'up covers and a pair of black 'rings it would be, IMO, a rather cool - and funky-looking - instrument to own. I wonder how many examples of these they sold in the UK?........ Pip. Yea, I dig the body carving but the indecisive color pallet of some of them is a but much even for me. I bet those necks never break though. Link to comment Share on other sites More sharing options...
pippy Posted February 7, 2017 Share Posted February 7, 2017 Yea, I dig the body carving but the indecisive color pallet of some of them is a but much even for me...........I bet those necks never break though. After you posted this model I had a quick scan and I can't find a single Zoot Suit SG up for sale anywhere!... Does this mean that owners are hanging on to them or were they just sold in such small numbers that they hardly ever come onto the used market?........ Perhaps the name was a bit to blame? What if they had been part of an artist's signature range? Would they have sold better? And we all know it would have simply had to have been the Gibson SG 'Edvard Munch' special edition... Pip. Link to comment Share on other sites More sharing options...
rct Posted February 7, 2017 Share Posted February 7, 2017 Our Gibson guy at that time only got two of them Zoot Suits and they hung up there for a very long time. I don't remember which suck...if anyone bought them or what. Not thought out and then poorly executed. I've never seen a guitar player actually using one anywhere. rct Link to comment Share on other sites More sharing options...
kidblast Posted February 7, 2017 Share Posted February 7, 2017 Gawd no.. One of the more hideous ideas Gibson has every birthed to a product. Link to comment Share on other sites More sharing options...
Dub-T-123 Posted February 7, 2017 Share Posted February 7, 2017 I've wanted one of the rainbow colored ones since they first came out!! Link to comment Share on other sites More sharing options...
jdgm Posted February 8, 2017 Share Posted February 8, 2017 .....it would have simply had to have been the Gibson SG 'Edvard Munch' special edition... Pip. Excellent - I laughed out loud..... Link to comment Share on other sites More sharing options...
Searcy Posted February 8, 2017 Author Share Posted February 8, 2017 1999 GIBSON PAT MARTINO CUSTOM Pat Martino creates distinctive sounds that embody thoughtful energy and soul. As a musician, philosopher, and artist, Martino’s pioneering spirit has influenced jazz musicians around the world. That same spirit has inspired the Pat Martino Signature Model. Featuring appointments aimed at tone and playability, this instrument reflects the exciting combination of Gibson’s legendary design with Pat Martino’s soulful style. Body Style: Semi-hollow Body Top: Highly Figured Maple Back: Hollowed Mahogany Binding: Multi-ply White/Black binding on top Neck: 1-piece Mahogany Profile: Rounded Nut Width: 1 11/16" Harware: Gold Plated Tailpiece: Stopbar Tailpiece Bridge: Nashville TOM Bridge Tuners: Mini-Schaller tuners Fingerboard: Ebony Number of Frets: 22 Scale Length: 24-3/4" Neck Pickup: '57 Classic Bridge Pickup: '57 Classic Controls: 2 volume, 2 tone, 3-way selector switch Link to comment Share on other sites More sharing options...
Searcy Posted February 9, 2017 Author Share Posted February 9, 2017 2001 Gibson L-5 Stained Glass Custom Acoustic Guitar This guitar was created with a "stained glass" theme. It features beautiful artwork on the top, back, and sides. Guitars of this caliber are extremely rare and Gibson doesn't produce many pieces of this quality. This is the only one of its kind. The guitar features a Sitka spruce top, with highly-figured maple back and sides. The maple quality is second-to-none. The fretboard and bridge are Brazilian rosewood, which Gibson never uses anymore. The fretboard and headstock feature a luxurious rope-style purfling. Link to comment Share on other sites More sharing options...
jdgm Posted February 9, 2017 Share Posted February 9, 2017 Surprised they didn't give it a nice wooden tailpiece or at least an L5 one. Link to comment Share on other sites More sharing options...
Mojorule Posted February 9, 2017 Share Posted February 9, 2017 At least 3 different graphic styles in the motifs as well. Why so eclectic? Almost very beautiful, but not quite there. Link to comment Share on other sites More sharing options...
Dub-T-123 Posted February 10, 2017 Share Posted February 10, 2017 Surprised they didn't give it a nice wooden tailpiece or at least an L5 one. I think the idea was to reveal as much of the art as possible, but they kinda messed it up by making it off center. It could just be the photo angle but doesn't look that way to me I think it's beautiful but I'm not really into horses :) Link to comment Share on other sites More sharing options...
Searcy Posted February 10, 2017 Author Share Posted February 10, 2017 Gibson 1938 Electric Bass This interesting piece of fretted Americana can be appreciated by any vintage instrument aficionado – particularly bassists – as it was probably the first instrument of its type ever built or marketed by Gibson. A 1976 letter by Julius Bellson, Gibson’s first company historian, says two examples of an early electric bass were built in the late 1930s. They were intended to be played like an upright bass. One of the late-’30s Gibson uprights was profiled by George Gruhn in the June ’97 issue of Vintage Guitar Classics (below right). Our featured bass is most likely the other (and the earlier of the pair). They apparently weren’t twins, however, as there are noticeable differences. Bellson’s letter was to Mrs. Theodore Snow, the original owner of the bass featured in the Classics article (hers was purchased in May, 1940). Therein, he stated that the other bass had been made for Wally Kamin, a longtime friend of Les Paul’s (who ultimately became Les’ brother-in-law), and played bass on many of his recordings. Bellson’s letter indicated Kamin and Paul had consulted with Gibson on building the instrument, so logic would dictate this bass was Kamin’s and that it was probably the earlier of the two built. Our featured bass has a smaller, hollow maple body (bound white/black/white) and different location for its ES-150/”Charlie Christian” pickup. It also has a smaller tailpiece, a volume control on the upper bout, and a tone control on the other. Snow’s bass had both knobs on the treble side of the upper bout. Its neck conforms to the configuration of a Gibson mandobass (maple with mahogany or walnut center stripe), and it has a bound, lined fretless fingerboard inlaid with celluloid strips and dot markers. Its scale measures 423/8″, standard for an upright. The bass also apparently had a foot-operated, pulley-type string mute. Its total length (sans endpin) was 541/4″, and it came with a tweed case, which sported a full-length black-and-red stripe. The interior was upholstered with burgundy cloth. The instrument had reportedly been owned by one individual since 1951. The owner, who bought it used from a store in Grand Rapids, Michigan, played electric tenor guitar in a 13-piece combo specializing in big-band music. However, he didn’t like it, so it remained in storage for decades. It is now owned by the National Music Museum in Vermillion, South Dakota. This bass didn’t herald the advent of electric bass as a viable instrument, as Fender’s Precision Bass would do 14 years later. But it was Gibson’s first attempt at a stringed bass that could be amplified with a pickup. Fretted Americana, indeed! Link to comment Share on other sites More sharing options...
Searcy Posted February 11, 2017 Author Share Posted February 11, 2017 1988 Epiphone Spot Light Sometime around Norlin's 1987 sale of Gibson, the decision was made to produce the Nouveau line of guitars. The Gibson Nouveaus were going to consist of cost-effective necks and bodies made in Japan and assembled and finished in Nashville and branded as American Made. Although the original sales literature introduces these as purely Gibson guitars, somewhere between manufacturing and finishing, they became the known as the Epiphone Spotlight series, resulting in an Japanese-made, USA assembled Epiphone. The first Nouveau guitars introduced by Gibson were a line of flat top semi-hollow guitars under the "Nouveau by Gibson" brand in 1986. In 1987 electric guitars joined the line. By September 1987 Gibson moved the flat top Nouveaus to the Epiphone line, under the brand "Nouveau by Epiphone" and the electrics were moved to Epiphone by February 1988. By early 1989 the entire Nouveau line was discontinued. Link to comment Share on other sites More sharing options...
pippy Posted February 11, 2017 Share Posted February 11, 2017 Lovely! Especially the top brown one!.... Pip. Link to comment Share on other sites More sharing options...
merciful-evans Posted February 11, 2017 Share Posted February 11, 2017 2nd pic rear view. Whats that device at the low E tuner? Link to comment Share on other sites More sharing options...
Searcy Posted February 11, 2017 Author Share Posted February 11, 2017 2nd pic rear view. Whats that device at the low E tuner? It's a HipShot drop tuner. You flip the lever and drop the strings tuning down from E to D or what every else you want to drop it too. Link to comment Share on other sites More sharing options...
Searcy Posted February 12, 2017 Author Share Posted February 12, 2017 Link to comment Share on other sites More sharing options...
pippy Posted February 12, 2017 Share Posted February 12, 2017 I saw one of those in a museum in Mobile, AL that was doing a guitar Expo last October... First time I saw one was here on the cover of 'Beginnings', Steve Howe's first solo album, way back in the mid-'70s and, at the time, I hadn't a clue what it was; A year or so later I read an interview with SH in International Musician magazine and he was asked which of his instruments he would grab if his house went on fire. The harp guitar was one of the half-dozen or so he chose. He also chose (all seen here) the 4-p'up LP Custom, ES-175D and the curious guitar bottom left - which I seem to remember being referred to as either 'Rudolph' or 'Roldoff' (or some such nickname), "the Shield Guitar'"... Pip. Link to comment Share on other sites More sharing options...
SteveFord Posted February 12, 2017 Share Posted February 12, 2017 Needs a whammy bar. Link to comment Share on other sites More sharing options...
pippy Posted February 12, 2017 Share Posted February 12, 2017 Needs a whammy bar. It probably needs two.... Pip. Link to comment Share on other sites More sharing options...
Mojorule Posted February 12, 2017 Share Posted February 12, 2017 Only a Prince of Prog would conceive of saving half a dozen guitars from a fire! I suppose Rick Wakeman would gather up 3 Moogs and a Steinway grand under one arm at the same time. Imagine Jon Anderson's voice after all that smoke inhalation. I'm with him on saving the ES175, but I'd be tempted by the Country and Western before any of the other stuff. Nice to see that he wasn't too prog to play a Gibson slope-shoulder J. Oh Yes... Link to comment Share on other sites More sharing options...
pippy Posted February 12, 2017 Share Posted February 12, 2017 ...I suppose Rick Wakeman would gather up 3 Moogs and a Steinway grand under one arm... ...and a Hammond C-3 under the other!... ...Imagine Jon Anderson's voice after all that smoke inhalation... I'm thinking Tom Waits but as a 'castratto'....... ...I'd be tempted by the Country and Western before any of the other stuff...Nice to see that he wasn't too prog to play a Gibson slope-shoulder J. Oh Yes... From memory - please bear in mind that I'm trying to remember details from an interview I read around 40 years ago! - one of the other guitars he mentioned saving was his old (even back then!) Martin 000-18. Pip. Link to comment Share on other sites More sharing options...
Mojorule Posted February 12, 2017 Share Posted February 12, 2017 ...and a Hammond C-3 under the other!... I'm thinking Tom Waits but as a 'castratto'....... From memory - please bear in mind that I'm trying to remember details from an interview I read around 40 years ago! - one of the other guitars he mentioned saving was his old (even back then!) Martin 000-18. Pip. Yes, and Rick Wakeman lives in these parts somewhere, so there is an outside chance that I could actually observe this phenomenon one day. The prospect of a falsetto/castrato Tom Waits is terrifying, but somehow less so than the idea of hearing Jon Anderson on the radio. A version of 'What's he building in there?' should rightly be performed while Rick and Steve salvage their collections. At least Steve Howe's choice of flat-top keeper is respectable in wood combination and body size. Very Martin Carthy. A D18 would be so dull. But to leave the Gibby? I'll have his C&W if he doesn't want it... Link to comment Share on other sites More sharing options...
Searcy Posted February 13, 2017 Author Share Posted February 13, 2017 Allen Woody Rumblekat The Epiphone Allen Woody Rumblekat bass is the result of a historic collaboration with Epiphone and the late great Allen Woody, the legendary bassist for the Allman Brothers Band and Gov’t Mule. The Allen Woody Rumblekat is one of the few basses available today with a 30" scale length (compared to the "standard" scale length of 34"). But there are many more features that make the Rumblekat one of the great modern instruments for bassists today. The Epiphone Allen Woody Limited Edition Bass comes with Epiphone’s Limited Lifetime Warranty and Gibson 24/7/365 Customer Service. Visit your Authorized Epiphone dealer today and discover the sound of a legend with the Allen Woody Rumblekat. Link to comment Share on other sites More sharing options...
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