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For owners of Gibson acoustics...any size, shape, age, or type!
Latest Activity: on Thursday
Started by Michael S. Jackson. Last reply by Michael S. Jackson Oct 24, 2012.
Started by Mark Bedard. Last reply by Phil Manuel Jun 4, 2012.
Started by gacoen. Last reply by Peter Anthony Aguanno Mar 3, 2012.
Any solid wood top will change with age, often for the better. My L130 started off well but improved to amazing. However, at no point has it been mellow (it projects very well, aka is loud even with light strings). The improvement has been in its tonal balance and a stronger midrange at lower attacks. After the first year I switched strings from 80-20's to phosphor bronze with good results. After five years, I can use Cleartone strings and still get a clean sound (they sounded muddy when the guitar was new.
I think this is what we call fun.
They had a 1963 up awhile ago that sold...don't know what for...
Yeah those adjustable bridges were a bad idea tonewise! Although I have seen worse, a J200 with a Les Paul type bridge and saddles! Yuck!
Yep...but that adj setup drops the value below the 2G mark.
Another nice Gibson at Wolfe Guitars - a 1968 J45-ADJ - they are asking $2675...
I have been waiting for this book and have been keeping tabs with the author for it's release...it's finally here an d they are now working on a followup CD of the music! Check it out!
"It's a haunting image. At least it was for author John Thomas. Some seventy women sit in four rows in front of the Gibson Guitar factory in the mid-1940s. Conventional wisdom and company lore had it that Gibson had ceased guitar production during WWII, with only "seasoned craftsmen" too old for battle doing repairs and completing the few instruments already in progress. What were these women doing there? The image so bedeviled Thomas that he eventually set out to find at least one of the women in the photograph. He found a dozen. Along the way he would discover that despite denials that endured into the 1990s, Gibson employed a nearly all female workforce to build thousands of wartime guitars and marked each with a small, golden "banner" pronouncing that "Only a Gibson is Good Enough." The banner appeared on the guitars at the moment those women entered the factory in January 1942, which fate choreographed to coincide with the precise instant when Glenn Miller's "I've Got a Gal in Kalamazoo" reached the pinnacle of the pop charts. The banner disappeared at the end of 1945 when the war ended, the soldiers returned, and most of the Kalamazoo Gals ceded their guitar making jobs back to their male predecessors. On his personal journey, Thomas tracks Orville Gibson from his birth in upstate New York to the founding of his namesake company in Michigan and to his return to his birthplace and death in a mental hospital. He takes us to meet these women in Kalamazoo and to travel with them through the Great Depression and into WWII. He wanders the hallways of the abandoned Gibson factory in search of the ghost of its founder, Orville Gibson, steps into the imaging clinic to seek radiographic evidence of sublime quality of the Gals' craft, and tracks the "Banner" Gibsons from Kalamazoo into the hands of their first owners. Ultimately, he leads us straight into the hearts of the Kalamazoo Gals."
From 2012 to 1937 - a 1937 Gibson L-50 Archtop at Wolfe:
They are asking $1875...
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