Tom Murphy (Gibson Murphy Lab) - His Most In Depth Video Interview EVER!

[Music] [Applause] hey everybody it's Lee here and I'm at Gibson custom shops HQ in Nashville I am joined by Tom Murphy some might say the father of sort of Aging guitars are you blaming you're blaming me and I I really wanted to take this opportunity to talk to you about um not just the Aging that you've done on electric guitars perhaps some of the stuff that we're talking about on um the new Montana of acoustic guitars um I love the subject of of uh aging or relicing or whatever people want to call it distressing it's probably one of the most um volcanic kind of topics on on YouTube um it's all your fault you started it largely yeah and I think one of the things that's interesting as well was that resonated with and and maybe this is where we'll start with this aging and distressing right in your mind are two different things with two different purposes and I'm trying to explain that to you know I I am trying to uh Express that to people in that aging does not make aging if you're talking about belt buckle wear does not make a guitar function any better but if I can age elements of the guitar especially the finish and the wood then I feel like we you may get Sonic benefits out of it if there's if it doesn't improve the function of the guitar that is sort of frivolous uh but people like all all levels of age we have four the ultra light light heavy and Ultra heavy because people have different tastes of what they like to look at or feel or be seen with with on the Acoustics which we've just launched out of Montana they use our proprietary finish and that's how I describe the stuff that's on the guitar and it will check which I feel relaxes the entire guitar it's a box that vibrates so it can vibrate freely so I think that's the Aging the Finish that's on the guitar yeah and I've been saying our finish is the aging and then the wear and terror is the distressing yeah it's sort of the same thing but it doesn't serve the same purpose no I I agree so the so if we put the aesthetic to one side Tom's got some great pictures on his phone that nice analogy of just you know four different pairs of jeans going from a you know a pair like I'm wearing now to a pair with massive holes in it and just going that's just your that's your that's your style and your Vibe isn't it it's like just doesn't matter but the let's talk about the Aging because everybody wants to try and Achieve that extra one or 2% Sonic you know people might spend hundreds of pounds on pedals or whatever they're going to to just get that extra 1% your belief and and it's a shared belief of many guitar players of which I'm one as well is that old guitars have a sound because of the and part of that sound is in part the way that the Finish has aged on that guitar so can you hold this I will and this will be like spinal tap but I'm going to say you you would hear the sustain just in your hold it in your hand and then strum the low E string and let it ring does that feel old does it well if I can feel the vibration through my hand it continues M I can still feel it cuz the a guitar whackers have been uh uh engineered for a long time to be durable and protective and that's fine but they can have sort of a dampening effect on a piece of wood MH and uh so uh even though we will not claim specifically the Sonic benefits of it of the finish on our solid body electric guitars which I could plug into a bunch of pedals and to an a go does it sound old yeah the pedal sounds old but uh but I think when people feel it for themselves in their hands uh then it gives you that sort of warm feeling of oh this is a friendly friendly uh uh instrument that's going to help me [Music] play [Applause] [Music] talk about that that history of um because I think in the in the The Golden Era of guitar making which most people accept was that sort of 50s early 60s guitar Brands changed the way they built guitars and the way they finished guitars in a way to make them either a quicker and easier to produce or or B actually more dur so you during a time where the idea of um the Finish wearing through would have been seen asly uh undesired you know like you you you wanted your brand new Fender Strat or whatever to look brand new for as long as it possibly could and that obviously drove changes but when do you think people began to question the Sonic sort of um side effect if you like of changing those finishing processes I didn't I can't recall when I personally had uh was skeptical about new guitars from the late 60s into the 70s whether I was experienced enough or not we just wondered why these companies would make the changes like the bigger headstock would make the logo bigger and I know that finished is that's not I didn't know the word lacquer but I knew that the newer stuff had a really plasticky kind of thick feel and a look and and we just had this feeling that uh uh the engineering inside those companies at the time was not focused on the sound and the subtle uh uh uh uh historic designs it was on making them durable and making them so they won't get damaged and with virtually no regard for how it might affect the sound the guitars were just dead sounding most all the companies and of course you know I I got lucky in 1992 to be asked for some advice on a product and I worked at gibon I said well why don't we make some changes on the reissue L Paul because it has no vintage features whatsoever and there were plenty things we could do even just for looks right it now has led for in my opinion to the guitars we make today because there are so many features that we've tried to replicate that we're almost back to the beginning and we sort of make old feeling guitars where's the I suppose if if you talk about the bits that seemingly seem to upset um and I'm I think it probably is 75 80% of the of the guitar playing Market seem to to be offended for want of a better word by the idea of a pre-aged kind of guitar now if I wonder if you sort of dug into what is it that actually offends them I mean potentially tons of belt buckle wear maybe more but if you look at this idea I think there would be a more unanimous feeling if it was just about trying to finish a guitar in a way that did enable the body to be more resonant but maybe didn't have the visual signs of it is it possible to do that without the checking or does the what and I don't have one here that's what our ultra light right category achieves because we don't put any cracks right dents chips in the paint uh because that's part of the progression of the distressing yeah that we offer uh although uh we have had requests for our finish on a guitar without checking and I hate to say this that's not really feasible I was that that I think is the nub of it isn't it it's just it's going to check it's because it's it's so on the edge so I mean again perhaps explain even how checking occurs you know uh well in my unscientific explanation uh uh I lived in Colorado for quite a while I left my gold toop L Paul in the van overnight cuz we' gotten stuck in a blizzard after a gig when I arrived at my apartment the next day I got the guitar up went to my apartment opened the case the entire guitar exploded which really bummed me out cuz I didn't know I'd do that for a living someday but anyway uh I saw the effect and I knew it was the cold that caused it m and uh like I said real simply wood is a is a living material it has moisture content it will move constantly uh my j45 I sort of have to adjust a neck for summer or for winter if it's in dry heat or whatever and so you take a finish that is completely uh cured and dry and brittle and you the let the wood move slightly either direction it's not going to go with it so that's how checking occurs yeah a dry hard cured finish that will not move with the wood so we we're sort of going if you you can't have one without the other you know if you want the Finish to be that that sense that it's an old vintage Nitro celos 30 40 year old you know sunken finish uh even if it left the factory with none or minimal checking it's next to impossible to ensure that it will arrive at its destination like that this is the first time I'm going to say this in in public public but I feel I used to take a new guitar with a new finish modern finish and try to make it look old with fake scratches and I feel now that essentially we could take a new guitar and put an old finish on it and that's quite a that's quite a different perspective I think on and I think that's I'm I'm not I know I've got into arguments with people on YouTube on many occasions about the whole aging relicing thing and it's not it's never ever been um is it do does it work doesn't it work does it claim to change the sound doesn't it claim sh my argument has always been who are you to tell me what I should like about how a guitar should look I don't tell you that I don't like the color of guitar you like so don't don't tell me that I can't like a guitar that anyway that's always been my argument but I do kind of feel if people looked at the ultra light aging ACC accepted that there probably are some you know albeit minor uh steps towards making that guitar feel like it can just be a bit more resonant pris and that maybe there might be a bit of checking and maybe it's a bit contrived because it's you know it's you know but that's just what it is I think if they kind of just accepted that I I can understand by the time we've got a greeny over there with like all the wear and you know and that's about replicating right something that has been proper you know lived in for many many years I get that that there will always be some people who find that cool the people with the big holes in their jeans and there'll always be some people that just go it looks ridiculous MH and it's almost like that's fine as well who it's that's your that's your choice [Music] you [Music] all the projects that that I've been involved with over the many years so like 20 something years we replicated so many artists guitarists you know notoriously famous Les Pauls uh it it was I was able to get it to to pass people's uh uh inspection over the years uh people thought a lot of it was frivolous but what I mean is I took a razor blade and made lines to look like checking I mean how how artificial is that right uh but it still worked I mean I couldn't get them done fast enough so that was my life for a long time I I did discover a new material and a new process to get a more convincing and authentic uh uh style or uh pattern of checking that's all real that is really cracked yeah cuz you're you're I think you're really that the you know if lacer cracks because the wood moves it's cracking from within isn't it it's not it's where with a razor your cracking from the top aren't you where is this right it was it was all Visual and I guess that makes sense if you if you if you finish the guitar in a certain way so that it's ready for it and then you put the guitar in a condition where you're just essentially rapidly changing the temperature you're going to get some very natural yeah well that's the I I showed you earlier a picture of my go Top PA which was PR ultr light I played one gig and now I have four chips in the paint which I wasn't even aware were happening now that would bump some people out but in my case no and that that I think is you know I remember talking to the the the um you know going through the sort of the the Leo Fender sort of history of stuff I you know a lot of the changes that he made to the way guitars were finished were because people did get bummed out if they put marks on them of course he he'd make a finish that was incredibly hard wearing and but then I do feel while I do I it it feels to me like now people do want guitars that look worn in but the argument that you hear is they want to do the the wearing in themselves and we feel like they can it's just that we can't release guitars with our finish out without pre-checking them because that's going to be the nature of the Finish let us control that because we don't know what you'll do to it out there and it won't tolerate yeah very much abuse or misuse I uh uh have an acquaintance who owns a real 59 sunb last Paul I met him and saw the guitar a couple times and we have a mutual friend who called and said hey said his name he has a a Murphy lab uh light AED at 59 and uh he he got a chip in the top of it behind the bridge and will you look at it I go yes I'll look at it I probably can't do anything with it but they came to my shop at my house and it was below the bridge down here and I said what happened he goes I I don't know I don't I just noticed it I had it in the car it was like really hot I go stop right there would you put leave your 59 in the car with it's real no I go well you can't leave that in a car like that treat this like it's an old guitar yeah uh as you play it you're going to see things like that just like on my goop that's what we want people to be aware of if they buy a Murphy lab guitar no matter what it's going to show where not because it's an inferior finish because it's a finished engineered two show wear for us or for the for the player yeah and it's just a a reality and if you don't like it or you're afraid something will happen buy our V finish or gloss finish and we have all that stuff you don't you don't have to buying from Custom shopping that's the other thing isn't it you know you don't have to buy no you know it's not like it's not like back in the days where Henry put robot tuners on the guitars and and you had to buy them with it's like you do have a choice you do have a choice we have just widen the spectrum of of our instruments and our product line and we know that this is desirable to a lot of of people and since the Market's there if you don't like it get out of the line because there's a guy right behind you who really wants it and we know that cuz we have orders on the books yeah I just would like to think we have Tastefully and with Integrity offered the the concept to people because we know they want it you know and so then they can decide whether there were Sonic uh benefits and a feel which I believe there is but I I know I know for myself one of the things on um an aged guitar is I approach how I play it differently like if I have a brand new you know pory Smith make beautiful guitars and and and Paul doesn't want to do The Relic thing and that's fine and it's and that would be I think if I owned par there some of his guitars that he makes I would be heartbroken if I put a you know like a a Mark or anything like that absolutely heartbroken not to mention how much I'd probably devalue it doing that as well oh yeah yeah so I so you play it with kid gloves you know you you you you play it in A Relic you know I can pick up a 7 8,000 um you know an expensive Murphy lab and I want to get it and I don't care I was going to give it some like that I want to play it how I feel the guitar wants to be played and again that's might just being but I I think that's something it's it's almost like the the the the Aging just removes the fear of getting the first thing you know I I uh when we introduced it to Japan uh and then the went back the next year and it really had caught on and I got a question how how come they they play so good and feel so good and I want to say it's that's all on your mind because you're relaxed with it and you don't have to worry you can lean your L Paul against your Fender amp on break and not worry about you know you don't want to break a headstock but you don't worry about every scratch they're already on there and it does take that where you don't have to have a towel over your belt buckle to play it because a really glossy nice uh five star flametop pristin the first scratch yeah that's a hot is it [Music] yeah [Music] [Music] d you've got a little box of I want to again you everybody talks about you and Associates your name with this the process and and and it's you know I I it's great talking to you and and I I feel the passion and and I like the fact as well that uh I think you even said before we started rolling that if you were going to have a Murphy lab guitar you probably wouldn't have the one with all the big belt right it's like not your bag but it's no it's not thing I I it's it's nice for people to hear that because they'll sort of get that you know you're not driving this idea that you've got to have it as smashed up as possible no um but you've got a a we've got some nice examples but you've got this interesting little old ice cream box of of um tools and stuff on here I yeah like and I can't pour them out here I have before in fact uh a Japan uh delegation was here last week and for me to bring this in and dump it on the table the cameras came out immediately but I can say this that I saw a restoration shop in New York many many years ago 30 years ago the guy had put a new made a new drawer front for this piece cabinet and he made it look like this piece here and then he drilled wormholes in it and he had a ring of keys and so he had to replicate the wear and tear on that that new piece I thought wow he had a bunch of keys well I have a bunch of keys I've had this bunch of keys for 25 years probably some of those were my old truck keys but they have put a lot of dance and guitars over the years so now everyone in the lab has has a set of these exactly the same and the same weight I I didn't bring any here but I have a box twice as big as this full of keys I bought it a flame that's just you again that that's so if you're trying to create some of the wear on the back you're just a thing where when we do this we want multiple textures I don't want you to just take these and bang on you can use it for drop dropping and jams you'll see or if we soften the finish with heat we can get a more swirly pattern and we can even maybe use scotchbrite not not rub it but use it and tap on it and it'll add a texture with maybe we'll blend some of the stuff because the last thing I want something to do is look fake and artificial some of does and and all of it is but if we can get get it realistic and if you flip it over uh I don't know if we have on this it's not on this particular piece but we have a place that's uh on virtually every one right here we call a rockar bling damage right there where they were the bracelets uh and actually slash was in not long AG go and I said that's your fault because it's it's typical and so that's on on almost every heavy and Ultra heavy what are some of the I mean yeah what are they this is number one tool wow that is a railroad spike that holds the track onto the tie and I had one at my it was at my father's wood shop just laying there years ago I can do something with that and so I started using it and then a friend who played guitar was at my shop who works on the railroad what do you do with that and I showed him he said I can get you a bunch of them so didn't this was in the batch he found me and it's pretty heavy very specifically the texture on the back this gets really pretty in In Too Deep but the texture is Bumpy but smooth some of them have a more spiky feel because they've rusted and deteriorated that is perfect on the back of the neck for instance we I can tap this and it it will literally it will break the finish and we can do that in a pattern and we can remove and you'll have a textured look instead of a peeled off look and I actually used it the first time on I I was replicating a Pearly Gates Les Paul and it had very specifically there'll be places where it's splotchy but worn through but not all of it and so that started with this I do use the tip of it for a little Jam if I want to jam right there there's there's a jam uh very carefully pick where I will usually use this here along with uh some other tool this one of the most surreal conversations I ever so it's gone so far that since everyone was borrowing this tool yeah that our engineer from Montana Madison who I'll tell you about heard us talking about this and he said why we all have these this is number one he said said why don't you cast this so we now have a replica so you can buy a Tom Murphy officialy offro SP yes so our a genius level gone off another level here yes I mean who would these are just $1,000 each as well and but uh this is I won't tell you what guitar we're working on it has a pretty deep really smooth jam on the back radius this was made to make that what oh say that's that's just been made to make yeah yeah I just had this threaded so when I hit it I don't hit my thumb right because I was doing it every time I try to make that jam uh this uh uh you actually got belt buckles in there to S this is the origin this is the original belt buckle from the belt rash from for hundreds and hundreds of guitars back in the uh uh '90s and 2000s and uh there it is the cowboy and the cow and the horse finally fell out I had them on a spatula using them so I decided to put it away it may end up on eBay I'm not no don't eBay this this needs to be framed and you know this started 10 million YouTube arguments th this was made to measure where we would remove the binding on the headstock of the Peter Frampton uh Phoenix guitars so we could remove it the same place on every and until I got them to just leave The Binding off right uh but when we when we get a uh a feature that we are looking at to replicate we just figure out what tool is going to do that so sometimes I look in here and go uh I I bet this will do that and we have this is a replica of the door hinge pin off of my Chevrolet truck which was laying around and when you see a jam right here mhm mhm on I'll show you one on the guitar it's made with this or the hinge pin from my from my Chevy truck cuz you got to understand there's no place you can go buy well Stuart McDonald uh and maybe I could sell that at Stuart McDonald do you do you think there's I hear it so many times you know people use the analogy for relics oh it just looks like they tried it behind my car and just dragged it around the car that's probably the most common one and there's and I I'm sitting here sort of think well that's not how it's done but it's not but that the way it is done is almost as ridiculous you know it's like it's just it's just not ridiculous is the wrong word it you it's a really I I suppose all furniture restorers not restor sorry um people that are trying to make furniture look older than it really is it's a it is a bizarre skill you know of using all sorts of weird tools busted bits But ultimately the one thing I guarantee cuz I've seen you know local small ludia tried to do it sure if you're not really good at it you do make something that just looks you know like that actually you know but when you and your team do it as ridiculous as the process might be it does end up looking like a really authentically worn old guitar I I I work with and train and try to instill pride in the guys because we started with a small group that I had to use as my crew I had to to meet production needs and I told him just bear with me I'm not really smart but I got this one thing I do and one way to show you if you'll just do it that way then there there'll be a consistency and you'll start seeing uh uh your work looks just like my work and we have one of the newest members on the team in the lab who was a touch-up repair man and uh when we did interviews we hired him and he had no background in Old guitars and belt buckle wear and scratches he did the opposite he fixed those things but I worked very closely with him on all these pieces and I inspect the guitars every morning and uh I started him on light aging and as we progressed into the heavier stuff it was almost like he made a 180 I could see when he was working he was really focused and I looked at the wear on the back and I went oh you're just showing off he had discovered how he could achieve this authenticity in his work he wanted it to look he wanted me to be happy and he want to be happy he takes so much pride in his work now he almost wants to be the best guy back there there's no weak Link at all we can't have that yeah but as long as guys are are looking forward how can I make this better hey Tom check this out that that's what we all do back there and as I say it's not rocket surgery but it's very specialized you don't just take a railroad spike car keys and a hammer and a heat gun and then hand it to somebody and walk away and expect to get this there has to be some kind of uh focused a reference of what what you want to achieve cuz when you start banging on these things you you better have and actually one of our very best guys the first guitar and he had a background in vage guitars he did his first guitar and I don't know why I didn't supervised said you brought it to me I looked and went how would that happen and it was about 80 or 90 big jams all over the top where he had just hit it repeatedly and he looked at me like uh I don't know I go see you have to have a reason for doing that stuff so he I got with him and worked with him his stuff's impeccable now because you can't be back there hoping you can do good work uh so it's it's a really cool relationship me and the guys there and I've said this before everyone has worked in a different department in the company before buffing neck Fit Body line well they come and get them from time to time and borrow them well that's okay but we can't go out on the floor and get someone to bring them in there and let them and give them carys and and a and a railro spike I I want to talk about I want to finish up talking about the Acoustics that's obviously the newest Murphy lab kind of thing um but but before we do that just one last thing on the electrics you obviously or no I say you obviously I'm I'm not going to assume that can I assume that you do get to meet loads of artists that are famous for having vintage Gibson instruments yeah several what's their reason you know what what do they think about what you're trying to do is it are they just trying to um get you to recreate guitars that they can take on tour with so that they're not taking the half a million dollar one in or somewhat what what is that typical conversation there is a money element in terms of of an agreement uh on a project uh but I think they uh and I don't really interview them for this uh Matt Kaylor for the most part and our artist relations people in Matts and product development uh they form a relationship and they see what the people are expecting uh there's been a time when someone said don't put the cigarette burn on it because they're embarrassed about it uh don't put the broken head stock because they're embarrassed about that uh in in terms of the the way they are concerned about what we're going to present but uh for for the most part they're proud that somebody would want a replica of of their guitar and you know we've done all uh from uh early days of uh of Jimmy yeah Paige and Dicky Betts and then both of Dwayne Alman Sunburst guitars and then Bob Marley and Paul kasof and Peter Green and and it l just goes on and on and on those guitars are iconic and it's cool to try to replicate them uh you never really totally know how excited an artist is about seeing a replica of his guitar until they do and then they go wow that's really cool and we want them to think that like we're working on some really high-profile projects now today where the person can be critical and or really en enthusiastic uh but I I will say that an artist we worked with very early on I did it was a gold topl L Paul and I did two prototypes cuz the actual guitar was no longer gold right and we did what would be a possible replica a replication of that guitar when it was Notorious on an album cover and after many many years on the road uh the damage it would suffer and when we showed him the guitars on his tour bus he held one up to his ear and he says he likes to play him like that first and he's he said this is that old wood right and I looked at our artist relations guy across I'm thinking where's this going and he goes what's all them scratches on there for well that's supposed to look like what would have happened to the name of his guitar really why would somebody want that on there he had no idea someone would want a guitar to look like his guitar he thought it was all about what he had done to his guitar yeah which he had changed the color and everything which we eventually did that too but it was funny like he had a complet different perspective on the whole concept and because he wasn't thinking about how cool that guitar looked it got all ugly looking that's why he changed it so uh you know Willie Nelson is never going to fill that hole in the front of his guitar ever you know that's that's iconic and that will be in obviously in the museum uh so uh I worked on a doctor's guitar one time that had an original old guitar that was very expensive mhm and he bought a refinished version and I replicated his and it was that white finish cracked up and uh he he was happy we I did it through a dealer who was associated with the guy and shortly there after I had a guitar show the dealer said hey he wants to meet you we go to his Booth he had him side by side which is original which is Murphy which I didn't I wish you wouldn't do that but he was causing a controversy but he told me personally he goes well he goes to jam every Tuesday and everybody knew he couldn't take his other one to the jam and he showed up with this one and they go what are you doing and turns out he thought he was really cool because he was hip enough to get a replica made to take and he said now I got a $50,000 guitar at home in the closet that he can't use because he uses this one so it had some purpose and function uh and uh he he wanted it to look like his old one and feel like it so I mean that's what this is all all about does this make this guitar better I think it does in a little little little small way because I I can feel it yeah uh and especially the Acoustics now let's let's talk about the Acoustics then so will the the the internet will rage until until the internet is no more about whether it's possible for an electric guitar to sound different because of its finish and all the other bits MH fine it's you know it's a fun argument it's just keep it going um but the acoustic guitar argument is done right is it 100% all you are hearing on an acoustic guitar is the is the wooden elements of the guitar and the strings you know there's not really well what else have you got Bridge Pins N I suppose but you know there's no nobody's going to go it doesn't make a difference the timber doesn't make a difference and of course if you apply um a finish to the timber you inevitably affect sure how the timber can um resonate so it seems an obvious thing to me to do the whole Murphy lab thing to an acoustic guitar but I love the fact that you've um done it respectfully with the sort of really light aging so it's nothing to do with you know belt buckle rash no but you're you're you're sort of relatively self-confessed not like a acoustic nut so how how did that kind of I Love acoustic tars and I have old acoustic guitars and yeah they're magical in their sound and you know it's a box it's vibrating MH and what can I do to help that vibrate uh sufficiently and uh continually it's to not restrict it with a plasticized thick uh dampening finish well we know this finish is ends up no matter how many coats like regular production it ends up thinner the solvents dissipate quicker uh why not put it on an acoustic uh it was talked about but I wasn't I wasn't instigating it but one day two showed up from Montana for me to paint and to Murphy lab well the result was pretty radical it's like you know what these things sound awesome did you have anything to do with the uh because the aging process on those guitars is not just the Finish isn't it I think they they they're using additional drying techniques on the on the woods as well oh yeah all all the tops are torfi as people call it that's uh uh thermally modified mean they're baked and they bake the top Spruce tops to dry the the sap or whatever you want to call it that's inside the cells it comes from a like a fur tree you know and you need sap in a fur tree so it helps dry them they call it hardening the cell walls and you can hear it when you tap on it it's a dry piece of wood that now has no dampening from in inside and I think it's re really uh substantial influence on the the sustain and overall tone then you uh I mean and they're all all the guitars pre 50 which would be the L O from the 30s the uh J Banner j45 from the 40s and the southern jumbo then they all have red Spruce tops CU that's what they would have had and then the sitas sprues on the j200 and the hummingbird cuz they're 60s and and 50s guitars so they try to make them period correct the high glue on the pre- 50s and yellow glue on the 50s 60s guitars and uh you know their net profile they've gathered from many many guitars that they've that they've looked at XR scanned whatever uh so then you put our finish on there and all of those things the the high glue neck joint and so on all of those things get to do their function totally freely uh without being hampered and so when I play them I just hear the sound jump off and out of the guitars it's it's really cool I didn't completely expect that but I was hoping that we could get some of that with our finish because I just feel the Finish is there to protect the wood you can't have it not have a finish on it but just like with the it's not durable it is not durable at all and and I think they will if we offer an ultral light which is no scratches or D they would start showing we pretty quick so I guess I'm warning people if you don't want to scratch guitar don't buy a Murphy lab uh acoustic but so far so good you know they're out in the world and everyone that I have played is has just been marvelous I was up there recently and I played two j200 the best sounding guitars maybe I ever heard well I I I concur with you know you can go and watch the video that we did with Ben um back and Anderson of some of these and and there is something magical about those guitars for sure they they really are it they're fun to play and it sounds like the guitars want to be played it's like strum my string so I can vibrate that's true and uh so yeah it's really cool so that that makes these fun and cool but makes them really good because there's almost an immediate uh recognizing of the of the improved vibration and and sustain so hopefully acoustic players who not weren't left out but I'd say a real discriminating acoustic player does not want a real durable finish on his acoustic guitar can you put a real light finish on that will let my guitar vibrate for sure so that's really what we're getting to do well it has been a pleasure spending the last hour or so with you um I shall look forward deeply to the comments section of this video I'm sure we haven't convinced all of you but maybe we've convinced one or two of you to go and at least check them out but honestly Tom it's pleasure uh meeting up with you again um I love the little you know the finishing touches you put on these guitars I think they're absolutely super and uh thank you guys and and you've always been very supportive your YouTube is very popular and we like to hear you say nice things about what we do oh well no problem with talk thank you for watching and we'll see you in another video [Music] soon [Music] the

Channel: Andertons Music Co

Views: 215,752

Keywords: Andertons, Andertons Music, Andertons TV, guitars, guitar, electric guitar, electric guitars, gibson, gibson guitars, gibson guitar, gibson custom shop, gibson custom shop murphy lab, murphy lab, tom murphy, guitar building, luthiery, relic guitar, relic'd guitar, aged guitar

Id: OdyAHG1Ii9o

Length: 45min 27sec (2727 seconds)

Published: Sat Nov 18 2023