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BluesKing777
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I hate demos done in alternative or dropped tunings, since I don't often play that way, and they tend to mask the character of the guitar, usually making it darker and always catching your ear if you are tuning-sensitive.

 

However, I happen to be looking at vintage SJ's (late 40's), vintage D-28's (mostly 50's and early 60's, which is all I might be able to afford), and a few of Martin's modern re-issues, like the Authentics and a few other versions that Wilcutt guitars has.

 

Starting to get the itch, for no good reason. I think it has something to do with signing a new contract recently.

Edited by j45nick
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I hate demos done in alternative or dropped tunings, since I don't often play that way, and they tend to mask the character of the guitar, usually making it darker and always catching your ear if you are tuning-sensitive.

 

However, I happen to be looking at vintage SJ's (late 40's), vintage D-28's (mostly 50's and early 60's, which is all I might be able to afford), and a few of Martin's modern re-issues, like the Authentics and a few other versions that Wilcutt guitars has.

 

Starting to get the itch, for no good reason. I think it has something to do with signing a new contract recently.

You have tasteful GAS😂 Hope you find one of each for the price of two! My avarice has been behaving all too well lately, but could be led off the path rather easily w/the proper temptation.

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I hate demos done in alternative or dropped tunings, since I don't often play that way, and they tend to mask the character of the guitar, usually making it darker and always catching your ear if you are tuning-sensitive.

 

However, I happen to be looking at vintage SJ's (late 40's), vintage D-28's (mostly 50's and early 60's, which is all I might be able to afford), and a few of Martin's modern re-issues, like the Authentics and a few other versions that Wilcutt guitars has.

 

Starting to get the itch, for no good reason. I think it has something to do with signing a new contract recently.

 

I hate that itch. I recently ran across a 1950 SJ. I do not need it as I own the 1942 J-50 but I find it hard to avert my eyes. I have a buyer lined up for my 1957 CF-100E. While the smart move would be to bank the money and move on, I know that cash will be burning a hole in my pocket. And for me it s a Gibson for a Gibson.

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The 2 68s had the really skinny necks, but sounded fantastic. I said to the guy it was a pity (for me) that the necks weren't like the new Bird neck...

 

The SJ was warm and fuzzy with a big neck I loved, perfect for me to play on the day. A nice old leather glove! Glad it wasn't my preferred L-00 size or I wouldn't be sleeping.....

 

 

All the new guitars were really great to play and sounded....new. [biggrin]

 

 

 

BluesKing777.

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Extraordinary good tests - both sound and playing are superb.

My 4 faves count the blonde Bird, the SJ, the Mart. , , but also the new red square.

The first really shows us how fantastic a voice the adj. rosewooden saddle can provide when recorded. There are invaluable textures in that clip.

It's a guitar you'ld love hear from your records'n'gramophone. It's probably fine in your hands as well, but quiet and hyper gentle.

 

The Mart. no doubt, is what you want to bring to the kitchen jam. It'll set the menu.

 

And the re-bridged Southern J will do miracles whenever it and you feel like it.

Worth noticing it's not as raw and primal as some of these old creatures tends to be. I prefer and dig that a lot. Not in the hunt though.

The herd here grows better and better as we get to know each other. The contemporary ones begin to find themselves, , , the oldies has awoken to find me.

 

Splendid post ^ let Father Christmas begin the sharing

 

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I hate demos done in alternative or dropped tunings, since I don't often play that way, and they tend to mask the character of the guitar, usually making it darker and always catching your ear if you are tuning-sensitive.

 

However, I happen to be looking at vintage SJ's (late 40's), vintage D-28's (mostly 50's and early 60's, which is all I might be able to afford), and a few of Martin's modern re-issues, like the Authentics and a few other versions that Wilcutt guitars has.

 

Starting to get the itch, for no good reason. I think it has something to do with signing a new contract recently.

 

I agree, Nick. It always bugs me when I see Teja Gerkin of the Acoustic Guitar magazine demonstrate instruments because he invariably uses open tunings. Certainly, he's a terrific fingerstyle player but you never hear what the guitar sounds like in standard.

 

Those '68 Hummingbirds are beautiful sounding guitars. I wish they had built them like that when I bought my new one in 1977 - sounded like a cotton bale with strings.

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