John Lennon Gibson Acoustic

John Lennon Gibson Acoustic

As a purely the John Lennon Gibson Acoustic , the Gibson J-160E isn’t really a contender – even though it probably sounds better than some of the original models – but as an investment for John Lennon fans and collectors, it could be an essential acquisition.“To say how proud I am of these new John Lennon Anniversary guitars is a huge understatement,” said Henry Juszkiewicz Chairman and CEO of Gibson Guitar. “The legacy that John Lennon has given music fans around the world is unprecedented and the friendship Gibson continues with Yoko Ono is demonstrated in these remarkable instruments that are in tribute to arguably one of the world’s greatest musicians.”

One of the coolest things about the J-15-and J-29 is that they represent genuine alternatives—not only to traditional round-shoulder Gibsons, but to each other. Rockers and bluegrass pickers itching to be heard over that dude with the pre-war D-28 will love the J-29’s high-mid presence, volume, and seemingly infinite headroom. Fingerstylists, moodier singer/songwriters, and recording guitarists will love the J-15’s dynamic breadth and dry, husky tone. Dyed-in-the-wool slope-shoulder Gibson devotees who savor the sonic nuances of vintage J-45s and Southern Jumbos may not love either guitar (though I suspect they’d favor the woody mellowness of the J-15). But the bottom line is that Gibson has expanded the sonic range of one the most attractive acoustic body shapes ever conceived.

At $1,500 bucks for the J-15 and $2,250 for the J-29 (yes, good rosewood is very expensive these days, darling), the guitars are destined to duke it out with many other excellent guitars in this competitive price bracket. But these unique and wonderful-sounding instruments seem destined to carve a niche all their own.

The Gibson J-160E is one of the first ever acoustic-electric guitar models. The first Gibson electric acoustic is attributed to Lloyd Loar although Gibson thought it was a bad idea at the time.Loar had experimented with acoustic electric guitars back in the 1920’s when he worked at Gibson and later with his own company, Vivi-tone.
Most of us have probably played acoustic guitar into a microphone. This works great in a studio setting as it picks up the guitars natural sounds. However in live performance, it can be a problem.

The microphone may pick up other instrument sounds leaking into the mic. Your guitar may bump the mic stand resulting in a non-pleasing sound and the soundman being knocked off his stool.

Plus your movement is restricted. You have to stand directly in front of the microphone.In 1951 Gibson was aware of these issues and to solve the problem created a guitar called the CF-100E. This guitar was a small bodied instrument with an ingenious single pickup at the base of the fretboard.

 

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