Відео

you walking Gibson encyclopediay, love you and your explainings of these wonderfull instruments!!

Wow. Gibson was doing some truly horrible things. Thanks for revealing their ugly bridge plate problems.

As a guitarist starting in 1973 ( both acoustic and electric ), I've always been "aware" of bridge plates in acoustic's, but I never really inspected them closely or analyzed their size, shape, and type of wood used. But lately, it's come to my attention how many acoustic guitars, including recent and new, have such narrow ( front to back ) bridge plates, which compels me to WARN GUITARISTS to check the width ( again: front to back ) of their bridge plates BEFORE purchasing either the K&K Pure Mini or Journey Tek EP001K pickup system to install in their acoustic guitar. Aside from microphones of course, both of these pickup systems are passive, and offer the purest & most transparent acoustic sound in the entire industry, and for a great price. ( the Journey Tek EP001K is only $50 US, and many prefer it over the K&K Pure Mini, which recently had a price increase to $150 US) HOWEVER: ON NARROW BRIDGE PLATES, THE 3 PICKUP TRANSDUCERS OF EITHER OF THESE 2 SYSTEMS WILL NOT FIT AT ALL. According to both companies, the transducers ( both use the same quality transducers produced in Germany ) MUST be installed on the bridge plate directly beneath the saddle, in order to get the best acoustic sound. I installed the Journey Tek EP001K in 3 of my 4 acoustic guitars, and they all sound amazing. Best amplified acoustic sound I've ever experienced. But my 4th acoustic guitar has a bridge plate that is much too narrow. These pickup transducers from both companies are slightly smaller than a US nickel, so inspect your bridge plate BEFORE purchasing either of these 2 amazing pickup systems.

I have a question pertaining to the debate as to which is best - ladder bracin or x-bracing. I am a piano tuner/technician, and I can say catagorically that I've never seen a piano soundboard with x-bracing. Rather, the bracings - often known as 'belly bars' on pianos - are ALWAYS parallel. I'm curious to know why, if x-bracing is superior, such a design has never been used on piano soundboards?

I was lucky to own a Centennial version is this guitar. As a gigging musician I was wary not to damage it and my friend ultimately bought it from me. Looked amazing!!

Don't put yourself down as a guitarist, Mark, your playing is tasteful, competent and melodic. For sure, it's always possible to find better guitarists than ourselves, but you have a good ear and you demo the guitars really well. I REALLY love your 1933 Gibson L-00. For me this guitar is near on perfection for an acoustic guitar. Absoluely gorgeous. Interestingly, jazz guitarist Mike Moreno can be seen accompanying jazz singer Gretchen Parlato in NYC using a Gibson L-00 bu with a magnetic soundhole pickup, and gets a tone totally unlike the acoustic tone which you'd be expecting. I'd be intrigued to know precisely what effects pedals he's using to get that sound. Here's a link to that video: ua-cam.com/users/results?search_query=Gretchen+Parlato+Live+at+The+Cachaca+Club+in+NY+cminor7add9th

Excellent show! Thank you

Thank you for your attention to detail.

so great

Update to my earlier post: I made my own Brazilian rosewood insert and tightly fit it to my bridge. Then routed that insert for a standard sized Gibson saddle. But since I fit the insert tightly, I didn't need to glue it in. This way I can take it back to it's stock configuration, if I ever need to sell it (which will never happen..lol). So now it's has the look and sound of a standard bridge and saddle, but it's not permanently altered.

Mark, interesting info on the kerfing. I play a Martin OO-18, and just love it. Appreciate your knowledge. Is that nut a 1 3/4? Thanks again

Thanks for another fascinating and informative vid for us geeks.

Hi Mark! Notice that some important details as to the quality of the SOUND of these guitars is NOT mentioned: Adirondack spruce tops, ebony fretboard vs. rosewood, thickness or mass of the neck as a contributing factor, FB radius for playability, scale length nut to saddle...these things spring to mind as I have a 1935 Gibson Roy Smeck Stage DeLuxe. Very similar to the Jumbo as presented here. I purchased in 1983 for 595USD plus tax. I know it sounds like a steal, but as you know Smecks were made with flat FB, painted white lines instead of frets, as per Hawaiian lap slide playing. A previous owner had glued a flat Koa veneer on the FB, and fretted it as a 12 fret to the body, creating a great fingerpicking/flatpicking/slide guitar. But because three of the frets were installed incorrectly, the whole experience is ruined in regards to playing near the 12th fret. So now I currently need a fretted FB, 25 3/4 inch scale.The Smeck is 2 inches at the nut, and baseball bat dimensions. Your video was informative, even though I still have questions regarding these guitars. Thanks, Roger W.

I like the d28 when you’re strumming and the d35 for the lick . Not sure which one to get .

beautiful guitar

What does a crack, rather tight, from the saddle to the bottom. Only crack in the guitar, a new D28?

My goodness! It’s 90 years old! WOW!

I LOVE this channel ❤ 😎

i have to say i think you are the best gibson repair man out there! thanks for the history i love it.

Thanks for this excellent video. I see 2 pearl dots on the bridge of the Jumbo. I assume that these conceal the bolts that are characteristic of vintage Gibsons?

I always look forward to your posts. You are one of the rare historians that bring the history of guitar to life. Thank you.

Whatever I’m doing at the time is halted - I stop and watch when Mark puts up a video. Another special educational moment. Many thanks!

Again, you are a treasure. Thank you Mark for in hand discussions on guitars I love but will never own.

Thank you for the review. Great to see and hear those sweet vintage Gibsons.

It's hard to believe the top would be so clean and the fingerboard with such deep grooves

Either one could 'kill a banjo.

Super informative, as per usual. Sitting here in Norway, watching this is the nearest I'll ever be to vintage bliss, though I own a '65 J45..😉Thanks for sharing your knowledge!

Super informative, thank you!

👌😎

I have to laugh when you say that a particular guitar repair terrifies you. Which begs the question, have you ever totally messed up a repair? I don't expect you to answer that. Love these videos!

another great video! Thank you Mark

Wonderful stuff, as always, Mark. Thank you.

Doesn’t get any better than these videos! Nobody investigates the nuances of these historically important guitars like you! What a remarkable looking and sounding Jumbo. Huge, robust voice. Many thanks for the history lesson on the model, as well. That J-35 is no slouch! Awesome, open, throaty tone on that one.

This one really comes across sonically in your video. Wow! Most enjoyable and informative.

A Folkway video… It’s like Christmas in July! Or June… What month are we again?

Really great, rare guitar with a very informative explanation of it and its history.Thank you for posting, really enjoyed it.

Mark, apropos almost nothing - could you give an opinion about D'Addario XS strings. I have been using them for a year or two and am quite impressed but I don't have your wealth of knowledge on the subject. Thanks.

Incredible instrument. Thanks for sharing, Mark.

My god that first strum!!! ❤

that's crazy hot. and so clean. talking of gibson being erratic, i had a 66 LG1 that i sold and missed, so i bought an 66 LG0 in hopes of replacing it, but the neck was completely different, so i bought another 66 LG0 and it too had a neck completely different to either - who knows what their process was back in the 60's

Amazing clean guitar! Thanks for the video Mark. Always a pleasure to hear you go deep into these guitar's histories.

This is great, except for one thing. His hide glue took a long time to harden up. In my experience, you don't have that much time unless he's using shelf Hide glue that has additives or he added additives to his hide glue. That's fine, but I just had to clarify because with 100% hide glue, you have less than a minute to move. I'm also assuming his syringe was in hot water or something like that.

I owned and played exactly one of these from around 1976 up to 1990 and I loved it. I sold it to a friend when I started my own business and needed the money. This guitar was very loud and extremely light weight. The action could have been just a little bit better, but no big deal at all. There must have been some highly skilled craftsmen at the Gibson production plant at the time and very well materials where used too. The radius of the soundhole was huge. I remember that also.

I did something similar with a Harmony H1266 by adding a rosewood floor to the saddle slot, but I just created an ivory saddle to fill it and did away with the screws for cosmetics.

I’m thinking of getting this Martin 000-15sm or the Martin 000-16 Streetmaster. I did buy the new Taylor ad22e with the V bracing. It is fantastic. Im 70 years old now and my avatar photo is me playing my 1937 Martin 0-17. I was 25 years old in 1980 my Martin I bought for $20 in 1970

fantastic, thank you

My only concern once repaired is the pickguard will continue to shrink in the future. If it was my personal guitar (depending on what it was) and the pickguard didn't appear it was going to curl if removed. I'd remove it, clean everything up and brush lacquer on the bare wood then reinstall the pickguard with modern 3m pickguard tape. I've done it once before and you could not tell. Some wouldn't want it done that way and I can understand that as well.

Either one. They're both Collings Guitars so there you go. Tomato tomato

great video,thankyou. I have a 1933 LOO that is almost the exact mirror image of this guitar. FON 708

beutefool