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Hi, 

I currently have this Gibson MK-35 in my shop for some intonation issues.  It also has a worn bridge plate that could use replacement or reinforcement.  The problem is that this guitar evidently used some odd construction techniques that complicate the potential repair. I have attached some pics of the bridge plate and the bridge area of the guitar. It appears that someone has already re-glued the bridge and didn't take the time to position it correctly.  I appears that the bridge was re-glued about 1/8" closer to the nut than should have been. I was wondering if anybody on this forum has had any experience with these guitars and if so what advice you can give. I am honestly thinking that this repair will be more headache than anything else. And yes the bridge plate is smothered with glue.

 

 

Thanks

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Quote: "What else really matters?"  

 

The View of New Trend Creating.

Recording Artists and Stage Performers.

And of the Global Guitar Purchasing Markets.

That has Almost Entirely Rejected this Mark Range.

Thank You for Your Assistance in Clarifying Their Reasons.

 

 

P

Peter, as I stated before now,  I don't disagree with your assessment of the model line as a whole. I just think that in the context of a person's selection of a single guitar, the position you hold is so narrow that it is practically worthless.     

Since I don't seem to be capable of explaining this in a way you understand I think it's probably best if I just leave it now.

And... this is exactly why I personally dislike seeing old posts re-opened. Gary has the 'power' to close this thread and disable further comments. I wish he would.

The Literary World both Writers and Readers, Have Overwhelmingly Rejected the Indiscriminate Use of Capitalization.

Quote: "The Literary World both Writers and Readers, Have Overwhelmingly Rejected the Indiscriminate Use of Capitalization."

 

 

This is Factually Incorrect.

I'm told by World Authorities on the Subject that Certain Famous Authors are Renowned for their Use of Them.

As it happens, a friend of mine for the last 45 years happens to be The Professor of English Literature at Oxford University.

And has on Numerous Occasions, sat on the Panels of Critics, that Award Prestigious Literary Prizes.

 

So Think Again.

 

My Reasons for Using them, is that I get invited to give a fair amount of Speeches, take part in Public Debates, give Public and Private Talks as well as the enjoyable After Dinner Speeches etc. within certain Circles. That's what I Overwhelmingly, do most of my Writing For, So one gets used to Utilising a Particular, Style.

Whereas most Writers use Italics where they wish Stress to be laid upon a word, my Experience with Speech Givers, Under Pressure who have an Critical Audience in Front of Them, has been that Reading Italics at Speed, Interrupts the Flow of their Eyes more so, which need to stay Ahead of their Mouth, and of Course, their Speaking.

Thus, Capitalisation for me, Acts just like Accents with Ritenuto in Music.

Musicians, naturally, won't Experience a Problem.

Being well used to Accents.

And Ritenuto!

 

 

Here's a little more about my friend..

He was an undergraduate Student of English at Keble College, Oxford (1963-66), then a graduate student at Keble (1966-69) working on a doctorate on representations of religious Dissent in Victorian fiction, which he completed as Junior Research Fellow at St John's College, Oxford (1966-69).

He came to Corpus College Oxford as its second ever English Literature Fellow in 1972. He's been Dean, Senior Tutor, Tutor for Admissions, and Vice President of Corpus. He's served as a Special Lecturer of the Oxford English Faculty, and also as its Chair. He was made a titular Professor of English Language and Literature in 1996.

He's been a Visiting Professor at the University of Massachusetts at Amherst, at the German Universities of Freiburg, Göttingen, and Konstanz (several times from 1980 on; Ständiger Gastprofessor 1994-2002). He's also been Scholar-in-Residence at the University of Perth, Western Australia. 

Elected a Fellow of the Grossbritannien Zentrum/Centre for British Studies, Humboldt University, Berlin, 2013 He's lectured and given papers widely at universities in the UK and around the world (Germany, France, Spain, Portugal, Belgium, Switzerland, Cyprus, Romania, Croatia, India, Brazil, Chile, Australia, Ghana, the USA, Canada).

He reviews widely for newspapers and magazines, and broadcasts frequently for BBC Radio on particular authors and on literary, musicological and cultural-historical topics. He's a not infrequent judge of important literary prizes (for example, The Booker Prize, 1992, 1998; the Commonwealth Writers' Prize, 2000, 2001).

He preaches occasional sermons, and plays the trumpet in various jazz combos, small, medium and large (and leads the Dark Blues Sextet). He gives his recreations in Who's Who as: reading bad novels, going to church, and playing and listening to jazz.

 

By the way

In all the Years I've Known Him.

He's never once found fault with my Writing or Style.

 

On the Contrary.

 

He was Recently Involved in a Channel 4 Documentary, Analysing with another Eminent Oxford Professor, the Subconscious Influences involved  in Lennon and McCartney's Beatle Lyrics.

Where they unconsciously derived many of their Ideas.

It was a Breath Taking Revelation.

P

Bloviation. 

Argumentum ad hominem.

"An ad hominem argument occurs when one attacks the person making an argument rather than the argument itself."

http://rationalwiki.org/wiki/Argumentum_ad_hominem

Here are the Books my friend has Authored .

2011

Victorian Poetry Now: Poets, Poems and Poetics, Blackwell Guides to Literature, Wiley-Blackwell

2002

Victorian Poetry, editor, Blackwell

2002

Reading After Theory, Blackwell

2002

On Modern British Fiction, contributor: 'Shaping Modern English Fiction - The Forming of Contents and the Contents of Form', Oxford University Press

2000

The Victorians: An Anthology of Poetry and Poetics, editor, Blackwell

1996

Adam Bede, editor, Oxford University Press

1994

In the Reading Gaol: Postmodernity, Texts and History, Blackwell

1988

British Writers of the Thirties, Oxford University Press

1986

Spanish Front: Writers on the Civil War, editor, Oxford University Press

1980

The Penguin Book of Spanish Civil War Verse, editor, Penguin

1975

Everywhere Spoken Against: Dissent in the Victorian Novel, Clarendon Press

P

And "appeal to authority" is one of the methods rejected by philosophers long ago.

Why are you here Peter?

It would seem you are neither engaged in guitar repair nor in building of guitars.

Gentlemen and Peter

I resurected his thread because I Googled "MK series guitars" to see if there was anyone out there who still had one and to understand what those owners thought of them. I knew that model had some problems during its life but I also knew that it could be a good guitar.

I have learned what I wanted to - to fix some of its faults.

I did not expect the thread to be highjacked by someone who does sell, make, play or own any guitar.

There has been some very constructive input especially from those of you who have read and understood my input with an open mind and I thank you for that.

So Peter, one contributor has asked the question of you "what are you doing here".

I echo that statement so unless you play a guitar, do not comment on the playability of a guitar especially of a model that has few left in existence (due to poor build quality I must admit) and an example of which you have probably never seen.

I think this discussion should end now, UNLESS there are any other satisfied owners out there and judging by some other discussion sites, THERE ARE!!!!!

Roger

Peter I wanted to thank you for your contributions and very thoughtful replies to topics here on FRETS.

My business partner is someone who is often fascinated with topics of interest and he will go to great lengths to explore the subject matter in search of truth in an often snake-oil saturated industry.  So I appreciate getting a view of anyone's thought processes who appreciates balance and truth and certainly have enjoyed your posts a great deal.

Please keep em coming!

One last work on the MK's.  I have a client and good friend who is a Master Jeweler who has had his MK bong water stains and all since college.  He loves it!  It's also BRW and a pretty decent guitar in general.  Did a neck reset for him several years ago and the MK is holding up very well in my opinion.  It's not the end all to be all in terms of anything an acoustic guitar does but in my opinion it's a nice guitar and as it ages it becomes more and more historic in terms of the approach that Gibson took to the MK series.

With any new and innovative design there is value even if it puts to rest an approach that is not all that successful.  I'm inclined to give Gibson some credit, something hard to do these days.... for the approach that they took to the MKs, who they enlisted, the risks that they took, etc.  Did the MKs advance Lutherie a great deal - no, but they did eliminate by trial some ideas thusly freeing up dreamers and designers to try something else.

To me if one really loves guitars they will love them all.... except, of course.... Ov*tions... ;)

OVATIONS ARE GUITARS!  Why doesn't anybody tell me these things. I thought they were decorations or flower pots!

more like commodes

just say-in

i'm relatively new here but,..

I've been reading this post for a while and have enjoyed the off topic

and learned some new things about Lutherie along with some of it's history  ,

I hope  Gary's MK is up and running soon if not already

Peter keep enlightening

keith 

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