... well when I saw it exhibited in a shop in its unlikely "Cherry" finish (I'd rather say ... lobster orange ...) and its white pickguard I couldn't resist the temptation. When I then saw that it was the much reviled version " ADJ ”of the famous J45, curiosity has skyrocketed. In short I tried it and ...
La Gibson J45 it is probably one of the most popular and well-known folk guitars in the world.
Introduced in 1942, this seventy-year-old lady has been used by all the top stars of the century: Da John Lennon a Bob Dylan maximum James Taylor, just to name a few. This acoustic guitar fully embodies the simple soul of American popular music: Spartan and all substance, without refinement and without frills.
Structurally, the J45 is a "rounded dreadnoughts”, That is a large-case acoustic with conspicuously rounded shoulders that give it a less modern look (and sound) and closer to the production of pre-war American guitars of clear Hispanic derivation.
The physiognomy of the J45, therefore, gives it a deep sound but devoid of the "overtones”Of the most robust dreadnoughts; a structure suitable both for accompaniments and for use in finger style. In short, an acoustic guitar for everyone and for all genres.
The "ADJ" system
In full "Research & Development" fervor, Gibson began introducing at the turn of the 60s a series of innovations on its instruments including, as far as we are concerned, the bridge "adjust”On some of his acoustic guitars.
The abbreviation ADJ, therefore, simply indicates the presence of a bridge adjustable in height by means of two lateral screws. But what in the conception of the time was a real modernization aimed at the immediate adjustment of the height of the strings, resulted in a tonal downgrade of the instrument, at least for the purists of the J45.
The replacement of a traditional ossicle in full contact with the bridge with a "suspended" system hooked to the soundboard by two simple threaded pillars was in fact judged to be a system of real timbral emptying.
In short, the ADJ series has been seen by connoisseurs and collectors as a less valuable instrument as traditional lutherie has been raped by a mechanical system with lower tonal results than the standard model.
The test specimen
The guitar under test was produced by the Gibson Custom Shop this year and is a reissue of the J45 ADJ produced in the 60s.
Aside from the distinctive "Cherry" finish, the height-adjustable bridge system and the '60s-style pickguard, this guitar incorporates all the traditional features of the J45: Mahogany sides, back and neck, rosewood fingerboard with dot ”And solid spruce top“ AA ”. The chain system is a X-bracing hand sculpted and the scale used is the traditional Gibson one (628mm). The bridge is always beautiful "reverse roll".
The adoption of the short scale and the rounded body make this guitar particularly comfortable to play. In fact, we will benefit from a soft draw of the strings, closer frets and - once held - we will avoid the “oversized” dimensions of a dreadnought.
Furthermore, the test specimen is very light (under 2kg) probably also due to the absence of the electrification system and the adoption of Kluzon De Luxe mechanics with plastic scoop. A set of Grover Rotamatic - used instead on the standard model - would certainly have increased the precision of the tuning but to the detriment of the weight at the headstock and the vintage look sought instead in this edition.
This J45 is overall well made, the painting was impeccable, the neck comfortable with very small and discreetly laid keys. Inside we observe a system of chains worked with variable thicknesses for their entire length in the evident search for an "intonation" of the instrument in terms of volume and dynamic balance. The chains, however, appeared rather rough and crude, as well as other inaccuracies can be found in the perfect centering of the string cloth on the neck, in the precision of the mechanics and in the overall intonation of the instrument which, although good, does not reach the maniacal levels of certain deluxe range competitors.
The overall construction of this Gibson is in perfect harmony with the original character of a popular medium-economic instrument, whose realization was linked to industrial production techniques that are now outdated, where the substance of the project had absolute predominance over the needs of cosmetics and of marketing.
With this J45 we are ultimately far from the refinements of certain high-lineage acoustics but the charm of rough simplicity is all there. With her we will buy a life partner ready to grow old with us ... without the risk of getting bored for a friend always in heels and evening dress, snobbish and vain despite the passage of time ...
The sound proof
As mentioned, the J45 is a very versatile guitar and responds with agility to both powerful picks and a more discreet finger style. At home in rock, blues and country, it has few rivals in terms of adaptability to genres and this is an absolute favor. Probably it does not excel in volume like the most noble drenought of the Martin house or does not excel in intonation like the "robotic" Taylor but does everything, does it well and with personality.
The sample under test showed a very good overall volume with a peculiar emphasis of the low E (typical of the J45). The balance of volume and dynamic capacity of the different strings was good but with some imperfections here and there in the different areas of the neck.
This ADJ was compared to a J45 Standard which, although showing a better emphasis than the averages, did not show any superiority in terms of volume. And here we come back to the “problem” of the ADJ system which, in my opinion, while eliminating the complete contact between the bridge and the soundboard, “concentrates” all the pressure of the strings on two very small surfaces. In my opinion, this remarkable concentration of pressure, even if not very uniform, compensates for the lack of contact of the whole bridge with the harmonic plane, with different timbral results but not necessarily inferior to the traditional system.
The "Adjust" bridge equalizes the instrument in a different way, emphasizing the extremes of the band (bass and treble) and accentuating the percussive "ghosts" in the pick-string contact: Even using heavy picks, you will have the percussive sensation of a light thin pick . Probably the shooting in the studio will benefit.
Where, on the other hand, the absence of midrange becomes evident is with the use of nut frets where the guitar begins to empty a little too much. The use of the nut, which often instead emphasizes the speed and projection of acoustic guitars, highlights a real bug of the ADJ that loses substance and expressive strength. Sin.
Conclusions
Probably over the years the “editorial” ear has been spoiled by having listened to so many high quality acoustic instruments and by having had the opportunity to play and compare them for a long time. But outside of these comparative ambitions, those who for the first time pick up a good Gibson J45 will probably exclaim: “ooohh… what a sound!”.
And one thing for sure: While today we are talking about a medium-high priced instrument, originally this Gibson acoustic was aimed at a mass market which was assured of the quality of a solid wood instrument at a “folk” price.
The J45 is a true icon and carries with it all the weight of the place it has occupied in the history of modern acoustic music. When you play it, you will immediately wear your favorite Levis jeans, perhaps not always trendy but timeless. Like all simple things.
USEFUL NEWS
Producer: Gibson Custom Shop
Model: J45 ADJ Limited Edition 1960
Website: gibson.com
Distributor: Gibson Italy
Price: About 1.700 / 1.800 Euros
