Gibson J-45 AG
- Thread starter Col Mustard
- Start date
OP
Col Mustard
Ambassador of Perseverance
update, update, update... Nine months later...
I sold all three of the guitars I mentioned... all my old and valuable ones.
The ones I worried about when i was on the road, the ones I worried about
when I was loading in and out of gigs or hotels. I'm okay with the prices I
received, and have moved on now. Turn the page...
It's been fascinating breaking in my new Gibson J-45. I named her Zelda.
Personally, I have never owned a new acoustic guitar.
But I've only been playing since 1962.
ALL of the acoustic guitars I have used and loved in the past have
been purchased used. No stolen guitars for me. No fakes.
And I never bought one brand new.
Until now.... I actually didn't know what to expect, and bought this J-45 AG from
Sweet water, never having played it or even seen one in a store or on some stage.
I bought this guitar because it seems totally unique, made of walnut body, maple neck,
walnut bridge and fretboard, spruce top, with a Baggs Element pickup. Sweet water
did a beautiful job of setting it up for me, before shipping.
I wanted this guitar because it was made of native U.S. wood, all of which are plentiful
and renewable. No tropical tone woods in this guitar. I wanted it because I've always
loved the tone of the J-45 in the hands of other players. Classic J-45s are true classics.
And finally, when I heard that Gibson was in trouble, I decided not to wait, but to just
get what I wanted before the
e hit the phan...
Now I've had her on the road for all these months, played her from Saulte Ste. Marie
to Surfside Tx, and from Boston to West Nowhere, Wisconsin. It's been a fine touring
season, and I've been able to listen to this instrument's tone change as time goes by.
(Play it, Sam...)
I've been fortunate enough to play this instrument on large stages and
small, and to practice for hours in preparation, and to write songs that
were crouched inside the sound hole.
Here's why I thought I'd update this thread... the guitar's tone has changed
a lot since she arrived. When right out of the box, she was bright bright bright...
I'd never owned a brand new acoustic, nor one made of walnut and spruce with
a maple neck, TUSQ saddle, bridge pins and nut. At first the tone was so bright
that I wasn't sure I would keep the instrument. I decided to play her for a year
or so before making that decision. Even at her brightest, her tone was very sweet...
not tinny, but very appealing on all six strings.
I began by installing a set of D'Addario 80/20 'bluegrass" strings
with light top and medium bottom gauge : .012-.055
That gave her a bit more depth. Those are the gauge strings I settled on
though I've vacillated between the D'Addarios and Martin SP light/medium
strings. Those strings are a good fit to my music and style.
I'll try phosphor bronze next, if I can find a set of light/medium gauge.
Dunno if that makes a difference, but I'll listen and then I'll know.
She's mellowed a lot, in my hands and in my living room practice area, and on
various stages. My pedal board has morphed and evolved as well, which has a
dramatic effect on the perceived tone of my guitar. At home it's one thing, and
plugged in to gawd knows what kind of P.A. equipment and bouncing off brick
walls or city buildings, or fading into a piney ridge a quarter mile away.... that's
another thing.
I've come to love the tones of this guitar. I haven't taken her into a real professional
studio yet, and am looking forward intensely to that. She's still bright, but has a lot
more to her tone now than that. I've been listening intently all this time, and marveling at
the change. I'm still not hearing the deep bottom tones that J-45 Gibsons are known
for, but I've set the EQ sliders on my Fishman pre-amp to bring lower tones up, and that
too makes a real difference.
And since my music partner plays a 1967 Martin D-35, tuned a full step low,
we don't lack for low tones on stage. The mellowing brightness of my Gibson
is a fine counterpoint to my partner's Martin. So we're not playing in the same
tonal territory and making mush... *grins
My other partner Libby plays her Hofner bass to accompany many of my songs,
and these two instruments seem to play well together. I gave her that bass almost
two years ago, and she's taken to it really well. It fits her style and weighs about
half what my basses weigh. The deep thump of the Hofner is a fine alternative to
the tone of my Warmoth J-bass, so we bring both, stand them side by side and play
them through the same Roland amp. The Roland CB-60X gives the Hofner a lot of
sustain, and adds a lot to the tone of the Warmoth too.
That aulde Fender in the background above is the one I sold in September of 2018.
Bye Bye Sluggo... And even though that's the best bass I've ever played, I'm happy with
my newer instruments, and am glad I let it go. I'm playing this Fretless Warmoth J-Bass
now, and moving onward.
I built this bass out of Warmoth parts, and wired it with Fender Vintage Jazz Bass
p'ups and good pots and jack, and finished it with Tung oil. I've been playing this
one for about nine years, and have successfully made the jump.
So... onwards and upwards, eh? I'm looking forward to 2019 and what ever
this year may bring. Happy New Year, you lot...
I sold all three of the guitars I mentioned... all my old and valuable ones.
The ones I worried about when i was on the road, the ones I worried about
when I was loading in and out of gigs or hotels. I'm okay with the prices I
received, and have moved on now. Turn the page...
It's been fascinating breaking in my new Gibson J-45. I named her Zelda.
Personally, I have never owned a new acoustic guitar.
But I've only been playing since 1962.
ALL of the acoustic guitars I have used and loved in the past have
been purchased used. No stolen guitars for me. No fakes.
And I never bought one brand new.
Until now.... I actually didn't know what to expect, and bought this J-45 AG from
Sweet water, never having played it or even seen one in a store or on some stage.
I bought this guitar because it seems totally unique, made of walnut body, maple neck,
walnut bridge and fretboard, spruce top, with a Baggs Element pickup. Sweet water
did a beautiful job of setting it up for me, before shipping.
I wanted this guitar because it was made of native U.S. wood, all of which are plentiful
and renewable. No tropical tone woods in this guitar. I wanted it because I've always
loved the tone of the J-45 in the hands of other players. Classic J-45s are true classics.
And finally, when I heard that Gibson was in trouble, I decided not to wait, but to just
get what I wanted before the
e hit the phan...Now I've had her on the road for all these months, played her from Saulte Ste. Marie
to Surfside Tx, and from Boston to West Nowhere, Wisconsin. It's been a fine touring
season, and I've been able to listen to this instrument's tone change as time goes by.
(Play it, Sam...)
I've been fortunate enough to play this instrument on large stages and
small, and to practice for hours in preparation, and to write songs that
were crouched inside the sound hole.
Here's why I thought I'd update this thread... the guitar's tone has changed
a lot since she arrived. When right out of the box, she was bright bright bright...
I'd never owned a brand new acoustic, nor one made of walnut and spruce with
a maple neck, TUSQ saddle, bridge pins and nut. At first the tone was so bright
that I wasn't sure I would keep the instrument. I decided to play her for a year
or so before making that decision. Even at her brightest, her tone was very sweet...
not tinny, but very appealing on all six strings.
I began by installing a set of D'Addario 80/20 'bluegrass" strings
with light top and medium bottom gauge : .012-.055
That gave her a bit more depth. Those are the gauge strings I settled on
though I've vacillated between the D'Addarios and Martin SP light/medium
strings. Those strings are a good fit to my music and style.
I'll try phosphor bronze next, if I can find a set of light/medium gauge.
Dunno if that makes a difference, but I'll listen and then I'll know.
She's mellowed a lot, in my hands and in my living room practice area, and on
various stages. My pedal board has morphed and evolved as well, which has a
dramatic effect on the perceived tone of my guitar. At home it's one thing, and
plugged in to gawd knows what kind of P.A. equipment and bouncing off brick
walls or city buildings, or fading into a piney ridge a quarter mile away.... that's
another thing.
I've come to love the tones of this guitar. I haven't taken her into a real professional
studio yet, and am looking forward intensely to that. She's still bright, but has a lot
more to her tone now than that. I've been listening intently all this time, and marveling at
the change. I'm still not hearing the deep bottom tones that J-45 Gibsons are known
for, but I've set the EQ sliders on my Fishman pre-amp to bring lower tones up, and that
too makes a real difference.
And since my music partner plays a 1967 Martin D-35, tuned a full step low,
we don't lack for low tones on stage. The mellowing brightness of my Gibson
is a fine counterpoint to my partner's Martin. So we're not playing in the same
tonal territory and making mush... *grins
My other partner Libby plays her Hofner bass to accompany many of my songs,
and these two instruments seem to play well together. I gave her that bass almost
two years ago, and she's taken to it really well. It fits her style and weighs about
half what my basses weigh. The deep thump of the Hofner is a fine alternative to
the tone of my Warmoth J-bass, so we bring both, stand them side by side and play
them through the same Roland amp. The Roland CB-60X gives the Hofner a lot of
sustain, and adds a lot to the tone of the Warmoth too.
That aulde Fender in the background above is the one I sold in September of 2018.
Bye Bye Sluggo... And even though that's the best bass I've ever played, I'm happy with
my newer instruments, and am glad I let it go. I'm playing this Fretless Warmoth J-Bass
now, and moving onward.
I built this bass out of Warmoth parts, and wired it with Fender Vintage Jazz Bass
p'ups and good pots and jack, and finished it with Tung oil. I've been playing this
one for about nine years, and have successfully made the jump.
So... onwards and upwards, eh? I'm looking forward to 2019 and what ever
this year may bring. Happy New Year, you lot...
Last edited:
chilipeppermaniac
Ambassador of Decibels
update, update, update... Nine months later...
View attachment 20854
I sold all three of the guitars I mentioned... all my old and valuable ones.
The ones I worried about when i was on the road, the ones I worried about
when I was loading in and out of gigs or hotels. I'm okay with the prices I
received, and have moved on now. Turn the page...
It's been fascinating breaking in my new Gibson J-45. I named her Zelda.
View attachment 20855
Personally, I have never owned a new acoustic guitar.
But I've only been playing since 1962.
ALL of the acoustic guitars I have used and loved in the past have
been purchased used. No stolen guitars for me. No fakes.
And I never bought one brand new.
Until now.... I actually didn't know what to expect, and bought this J-45 AG from
Sweet water, never having played it or even seen one in a store or on some stage.
I bought this guitar because it seems totally unique, made of walnut body, maple neck,
walnut bridge and fretboard, spruce top, with a Baggs Element pickup. Sweet water
did a beautiful job of setting it up for me, before shipping.
I wanted this guitar because it was made of native U.S. wood, all of which are plentiful
and renewable. No tropical tone woods in this guitar. I wanted it because I've always
loved the tone of the J-45 in the hands of other players. Classic J-45s are true classics.
And finally, when I heard that Gibson was in trouble, I decided not to wait, but to just
get what I wanted before the
Now I've had her on the road for all these months, played her from Saulte Ste. Marie
to Surfside Tx, and from Boston to West Nowhere, Wisconsin. It's been a fine touring
season, and I've been able to listen to this instrument's tone change as time goes by.
(Play it, Sam...)
View attachment 20856
I've been fortunate enough to play this instrument on large stages and
small, and to practice for hours in preparation, and to write songs that
were crouched inside the sound hole.
Here's why I thought I'd update this thread... the guitar's tone has changed
a lot since she arrived. When right out of the box, she was bright bright bright...
I'd never owned a brand new acoustic, nor one made of walnut and spruce with
a maple neck, TUSQ saddle, bridge pins and nut. At first the tone was so bright
that I wasn't sure I would keep the instrument. I decided to play her for a year
or so before making that decision. Even at her brightest, her tone was very sweet...
not tinny, but very appealing on all six strings.
I began by installing a set of D'Addario 80/20 'bluegrass" strings
with light top and medium bottom gauge : .012-.055
That gave her a bit more depth. Those are the gauge strings I settled on
though I've vacillated between the D'Addarios and Martin SP light/medium
strings. Those strings are a good fit to my music and style.
View attachment 20859
I'll try phosphor bronze next, if I can find a set of light/medium gauge.
Dunno if that makes a difference, but I'll listen and then I'll know.
She's mellowed a lot, in my hands and in my living room practice area, and on
various stages. My pedal board has morphed and evolved as well, which has a
dramatic effect on the perceived tone of my guitar. At home it's one thing, and
plugged in to gawd knows what kind of P.A. equipment and bouncing off brick
walls or city buildings, or fading into a piney ridge a quarter mile away.... that's
another thing.
I've come to love the tones of this guitar. I haven't taken her into a real professional
studio yet, and am looking forward intensely to that. She's still bright, but has a lot
more to her tone now than that. I've been listening intently all this time, and marveling at
the change. I'm still not hearing the deep bottom tones that J-45 Gibsons are known
for, but I've set the EQ sliders on my Fishman pre-amp to bring lower tones up, and that
too makes a real difference.
And since my music partner plays a 1967 Martin D-35, tuned a full step low,
we don't lack for low tones on stage. The mellowing brightness of my Gibson
is a fine counterpoint to my partner's Martin. So we're not playing in the same
tonal territory and making mush... *grins
My other partner Libby plays her Hofner bass to accompany many of my songs,
and these two instruments seem to play well together. I gave her that bass almost
two years ago, and she's taken to it really well. It fits her style and weighs about
half what my basses weigh. The deep thump of the Hofner is a fine alternative to
the tone of my Warmoth J-bass, so we bring both, stand them side by side and play
them through the same Roland amp. The Roland CB-60X gives the Hofner a lot of
sustain, and adds a lot to the tone of the Warmoth too.
View attachment 20860
That aulde Fender in the background above is the one I sold in September of 2018.
Bye Bye Sluggo... And even though that's the best bass I've ever played, I'm happy with
my newer instruments, and am glad I let it go. I'm playing this Fretless Warmoth J-Bass
now, and moving onward.
View attachment 20861
I built this bass out of Warmoth parts, and wired it with Fender Vintage Jazz Bass
p'ups and good pots and jack, and finished it with Tung oil. I've been playing this
one for about nine years, and have successfully made the jump.
So... onwards and upwards, eh? I'm looking forward to 2019 and what ever
this year may bring. Happy New Year, you lot...
View attachment 20862
Col. it will take me a little while to read and digest your post, but I like how it begins and ends. Happy NY to you too, bro.
Glad you got your J 45 and are learning one another.
chilipeppermaniac
Ambassador of Decibels
Yup, COL has the BEST SG's. next to mine of course.
OP
Col Mustard
Ambassador of Perseverance
hah... my ladylove was watching the golden globes... and I cordially dislike
awards presentations, so I started meditating on how far I'd come down the
acoustic path in 2018. I guess I wrote a lot.
"And there's a hand, my trusty fere!
And gie's a hand o' thine!
And we'll tak a right gude-willie waught,
For auld lang syne.
For auld lang syne, my jo',
For auld lang syne.
We'll tak a cup o' kindness yet,
For auld lang syne." --Robt. Burns
I'm very happy with the tone I'm getting, and the sustain,
and how light the instrument is compared to others I play.
The Gibson J-45 weighs 4 pounds (1.8 Kg), so it feels very
handy to a bass player like me.
For 2019 Gibson seems to be offering the J-45 Studio which has
a lot of the same features, but a traddie mahogany neck.
So others may be interested in my experience with this fascinating
new design.
Kerry Brown
Ambassador of the Great Northern Bar Jams
Col. please discontinue these posts. I have enough guitars but now I want a Gibson acoustic. I would like a walnut acoustic to go with my mahogany, rosewood, and cherry ones. Going to have to see if I can fit a J15 into my budget.
Congrats on finding such a great guitar. I am sure it will only get better as it gets played even more.
Congrats on finding such a great guitar. I am sure it will only get better as it gets played even more.
chilipeppermaniac
Ambassador of Decibels
LMAO, Kerry is a comedian turned guitar player.
I have wanted a J200 for a long time too. I bet this J-45 is a different animal altogether.
I have wanted a J200 for a long time too. I bet this J-45 is a different animal altogether.
OP
Col Mustard
Ambassador of Perseverance
Mini hum buckers rip! That's my three word review... *grins
I bought that guitar in like 2013, because nobody else would. Seriously, the reception (on ETSG) for
the "Gibson SG special '70s tribute" was scathing and rejectory. Not just too much innovation
for the peanut gallery, but WAY TOO MUCH. Guitarists couldn't figure out what this instrument was
good for, so they wouldn't buy them. I was immediately attracted, of course. *laughs.
I showed it to my girlfriend as soon as I saw it... with the G.A.S. bubbling away. MSRP was like $1100
or something outrageous. I wanted one, but not for that price. Gibson kept marking them down and
down, until by about April I couldn't stand it. My girlfriend looked at me, with my bugged out eyes and
sweaty brow, and looked at the marked down price $600, and said, 'You should just get one."
So I did. Maybe one of the last ones, on clearance.
If you remember, Gibson had just suffered a government raid (in 2012) on their warehouse,
where armed goons came onto the premises and confiscated lots of tropical tone wood.
Gibson was accused of buying contraband Ebony and Rosewood on the black market, sold to
them by poachers and jungle cutters without proper licensing and end-use certificates etc.
Prolly didn't pay the taxes on it either. I think they later quietly paid their fines and got their
wood back.
Anyway, my Silverburst SG was a 2012 model, where Gibson had substituted 'baked maple" for
the traddie rosewood. Gibson had probably designed this guitar earlier, and scheduled the production
for 2012 and then got their rosewood confiscated. So they went to plan B and worked up the design
with a baked maple fretboard. I'd never heard of that before. This is what it looked like, brand new.
They also came up with the oversize '70s style headstock, the '70s Thick to Thin" neck carve
(whatever that is), the unbound neck has a volute... the baked maple fretboard has small block inlays
it came stock with Tone Pros Kluson tuners, those new design Mini Humbuckers,
Gibson 500k pots, (no PCB) and my favorite satin Silverburst finish... I couldn't resist. The guitar is
totally unique.
This was the first year they'd issued any guitar with all those features, and guitarist mostly could not
accept it all. It seemed like there was nothing but complaints and crybaby posts about it.
But I was unfazed. They scoffed and said the new mini hum buckers didn't sound like the old ones,
but what did
I care about that? I want to sound like me. And not like everybody else. So the more people bitched
and moaned about the mini hum buckers, the more interested I was. Gibson discontinued the
model after only one year.
Mine have the 'blade sensors" in place of pole pieces. I don't think they are the same as Firebird
pickups... I believe the 'bird has hotter p'ups with ceramic magnets, another unique design.
What I will tell you is that I love the tone of the mini hums, and the feel of the '70s tribute neck,
and the baked maple fretboard is hard and smooth and has given great service since 2013.
Here is my April, in 2018.
The pickups have lovely crisp high tones, firm and present mids, and a great growl in the low
frequencies. No mud, no ice pick, no problem. The bridge pickup is described by Gibson as being
hotter than the neck p'up, but I still have to turn the neck pickup down if I want the bridge pickup
to leap out when I flip to it. But I always do that, on every two p'up guitar I play, so it seems
normal. I would characterize the tone of the Mini Hums as "totally unique." This guitar sounds like nothing else. Which is why I like it. Gibson has now re-issued this model with
a rosewood fretboard (but no Silverburst) and is selling plenty of them.
She sounds best through my 20W Orange Micro Terror, and a couple of home made 8 ohm cabs
running in parallel @4 Ohms. But she also sings well through my 30W Vox VT-30. It makes me
very happy to play this instrument, the neck is fast and comfortable. I've left this one mostly stock,
(Bridge, wiring, pickups) and done a few cosmetic mods just for fun.
I bought that guitar in like 2013, because nobody else would. Seriously, the reception (on ETSG) for
the "Gibson SG special '70s tribute" was scathing and rejectory. Not just too much innovation
for the peanut gallery, but WAY TOO MUCH. Guitarists couldn't figure out what this instrument was
good for, so they wouldn't buy them. I was immediately attracted, of course. *laughs.
I showed it to my girlfriend as soon as I saw it... with the G.A.S. bubbling away. MSRP was like $1100
or something outrageous. I wanted one, but not for that price. Gibson kept marking them down and
down, until by about April I couldn't stand it. My girlfriend looked at me, with my bugged out eyes and
sweaty brow, and looked at the marked down price $600, and said, 'You should just get one."
So I did. Maybe one of the last ones, on clearance.
If you remember, Gibson had just suffered a government raid (in 2012) on their warehouse,
where armed goons came onto the premises and confiscated lots of tropical tone wood.
Gibson was accused of buying contraband Ebony and Rosewood on the black market, sold to
them by poachers and jungle cutters without proper licensing and end-use certificates etc.
Prolly didn't pay the taxes on it either. I think they later quietly paid their fines and got their
wood back.
Anyway, my Silverburst SG was a 2012 model, where Gibson had substituted 'baked maple" for
the traddie rosewood. Gibson had probably designed this guitar earlier, and scheduled the production
for 2012 and then got their rosewood confiscated. So they went to plan B and worked up the design
with a baked maple fretboard. I'd never heard of that before. This is what it looked like, brand new.
They also came up with the oversize '70s style headstock, the '70s Thick to Thin" neck carve
(whatever that is), the unbound neck has a volute... the baked maple fretboard has small block inlays
it came stock with Tone Pros Kluson tuners, those new design Mini Humbuckers,
Gibson 500k pots, (no PCB) and my favorite satin Silverburst finish... I couldn't resist. The guitar is
totally unique.
This was the first year they'd issued any guitar with all those features, and guitarist mostly could not
accept it all. It seemed like there was nothing but complaints and crybaby posts about it.
But I was unfazed. They scoffed and said the new mini hum buckers didn't sound like the old ones,
but what did
I care about that? I want to sound like me. And not like everybody else. So the more people bitched
and moaned about the mini hum buckers, the more interested I was. Gibson discontinued the
model after only one year.
Mine have the 'blade sensors" in place of pole pieces. I don't think they are the same as Firebird
pickups... I believe the 'bird has hotter p'ups with ceramic magnets, another unique design.
What I will tell you is that I love the tone of the mini hums, and the feel of the '70s tribute neck,
and the baked maple fretboard is hard and smooth and has given great service since 2013.
Here is my April, in 2018.
The pickups have lovely crisp high tones, firm and present mids, and a great growl in the low
frequencies. No mud, no ice pick, no problem. The bridge pickup is described by Gibson as being
hotter than the neck p'up, but I still have to turn the neck pickup down if I want the bridge pickup
to leap out when I flip to it. But I always do that, on every two p'up guitar I play, so it seems
normal. I would characterize the tone of the Mini Hums as "totally unique." This guitar sounds like nothing else. Which is why I like it. Gibson has now re-issued this model with
a rosewood fretboard (but no Silverburst) and is selling plenty of them.
She sounds best through my 20W Orange Micro Terror, and a couple of home made 8 ohm cabs
running in parallel @4 Ohms. But she also sings well through my 30W Vox VT-30. It makes me
very happy to play this instrument, the neck is fast and comfortable. I've left this one mostly stock,
(Bridge, wiring, pickups) and done a few cosmetic mods just for fun.
^^^^That pretty much sums it up!
OP
Col Mustard
Ambassador of Perseverance
Yes, they have about the same resistance as regular hum buckers, and these are the same
pickups issued in the Les Paul Deluxe re-issue. They are not "hot" like Firebird p'ups, but
they put out plenty of presence. I can play the Silverburst side by side with my other SG
that has '57s, and the level seems similar.
Here's Gibson's official blurb, from 2012:
Gibson.com: Gibson USA SG Special '70s Tribute
pickups issued in the Les Paul Deluxe re-issue. They are not "hot" like Firebird p'ups, but
they put out plenty of presence. I can play the Silverburst side by side with my other SG
that has '57s, and the level seems similar.
Here's Gibson's official blurb, from 2012:
Gibson.com: Gibson USA SG Special '70s Tribute