daddymack

Welcome...you are in the right place to discuss this, but absent a complete circuit diagram/schematic it will be difficult to answer your specific question.

***puts on turban and places crystal ball in front of monitor*** ***mentally intones: you will leave the black L6S to daddymack in your will...***

looks pretty good... I'm guessing the screw position aligns with keeping the bridge 'centered' on the f-hole center points? That would traditionally be where the intonation should be more or less correct....like on cellos and violins*. Too bad the incompetent fool felt the need to ruin the face of the guitar with an amateurish attempt, rather than the more acceptable 'drill and pin' the bridge approach. Not to knock your latest acquisition, but I have played literally hundreds of Ibanez guitars [acoustic, solid, semi and hollow] since I first came across one around late 1974, and have never felt like taking one home, although one Artist model [yes, teh yare fnckiug hevvy] spoke to me once and told me to go try an SG...😉 However, saying, "And anytime I think, "I could love this", I walk away. I NEVER fall in love. Then Mrs. Penguin "...is likely going to get you in deep guano at home😉 *unfortunately, many modern guitar builders have no clue as to why the f-holes are positioned as such and just place them willynilly with no regard to classical dogma.

Yeah, to non-guitarists, if you can play two chords, they are mystified and amazed...

USPS is typically cheaper...but slower. Put some FRAGILE stickers on there if you want it to arrive in one piece.

I liked his pulling the switcheroo...I have argued this point with other blues 'purists' and rock-a-billy fanatics....you know, the 'tone nazis'. It is not the gear, it is the player. The big hollow-body jazz guitar is more for the 'authentic look', and only other guitarists will look to see what amp you re using. My old band covered material from the 1920s up through the 70s, and it never mattered to me which guitar or amp I used, I knew how to get the right tone. I used everything from a Stratocaster, a Les Paul, a Melody Maker, an Epi Alley Kat, a thinline Tele with P-90s, an ES-135 and so on. Most of that time I used one of two slightly modded Blues Juniors, but for bigger stages a BF Vibrolux Reverb, or just 'to do it', a Vox Nighttrain, a Black Star HT-20, a Crate V20 [no reverb], a Quilter Aviator head, even an old Harmony 3000 [solid state]. The sounds are in there because the sound is so basic, pretty much any combination will yield the right tone if you have the patience, knowledge and skill to find it. I also agree about not needing slap-back echo. To me it is a 'nice addition', but not crucial, much like reverb. It adds to the overall 'sonic image', but is not necessarily authentic. I practice acoustically, even on the electrics, just to keep myself 'honest', and like Richter, for band work, I typically go straight into the amp [with reverb]; I do however, have a slew of delay/echo pedals* at my disposal for slap-back, but generally they are left on my 'sideman pedal-boards', and not for my band's gigs. *ever since my first EchoPlex in the mid-70s, I've been fascinated by the almost unlimited potential to generate sounds that are not in the guitar itself using delay and repeat.

except plenty of terrible musicians are self-deluded as to their competency....and lots of great musicians are overly humble.

had not run across Randy before...European players doing rockabilly is pretty cool....

Just know that you are doing everything right...the process is the process, and there are no shortcuts to a quality product

First, ask her what she wants for xmas...trust me on this one!

okay... 1) just to save you from some mild embarrassment later, 'strings close to the fret bars' is referred to as 'low action'. 2) a nut width of 1.8" is wider than most. Average/nominal nut width is usually ~ 1.69 [1 and 11/16ths]...but widths up to 1 and15/16ths do exist. Do they exist on a steel string acoustic with low action for under $200? Off the top of my head, I can't name a specific one that meets your requirements...mainly because a sub-$200 guitar is not something I would be interested in. Maybe someone else here can point you toward something. I can say that at that price, new, you are likely going to be looking at Washburn, Fender, Epiphone, Mitchell or Yamaha in order to get decent quality in that price range. I would suggest contacting a sales person at Sweetwater, Musicians Friend, American Music Supply and zZounds. They should be able to look up specs in their systems. Then, if they have something that meets your criteria, you can compare other factors, like how good the tuners are, what woods it is made from, how it sounds...

coming along nicely! Just be careful! plus this is the first time I think I've heard of someone actually getting something accomplished while quarantined

Let me get this right.... This is a 4x12 cab? You want to have the top speakers on one line, the bottom speakers on a different line, and the ability to run it like a normal 4x12? What is/are the ohms of the speakers? [4/8/16 ohm] What amp[s] are you driving this with, and do they have switchable loads? [4/8/16 ohm] You want to have the top speakers on one line, the bottom speakers on a different line, and the ability to run it like a normal 4x12? Why do you think this would be a good way to set up your cab? You can split the top/bottom speakers, but now you have changed the value of the resistance. You would treat them as if they were 2 separate 2x12 cabs stuck together that you can daisy chain or feed separately. Why not have 2 2x12 cabs you can stack or separate?

Good catch, Mr. G! I recall that, years ago, when I was researching loopers for a 'shootout thread'* I did, that one caveat for the Jamman was about using ONLY the Digitech power supply [there were others, but not germane to his issue]. *FWIW, IIRC the Jamman came in 3rd in the Shootout...the winner was the Boss RC-30 [which I still own, but rarely use now]

google: digitech jamman looper schematic it looks like several pages...or I would have looked closer...😉

bad internal 9VDC contact?

Notes rode it out....

The only opinion that matters is your daughter's. If she likes the guitar, then it must be 'good'. There are certainly better guitars out in the world, but we all had to start somewhere.

Could the string-thru have been cut off when they chopped the bottom off? Okay...maybe I'm grasping at straws....but I can't envision another set-neck bass body that would cut down to that.

That my have been on the later versions, or on the 'Grabber' [bolt-on neck]...this is what I was considering: 'The Ripper humbucker, and it's associated circuitry was designed by Bill Lawrence, who was briefly working for Gibson in the early/mid 1970s. The first version of the Gibson Ripper bass humbucker was mounted directly into the body wood of the Ripper itself, via two screws down the central axis of the pickup, in line with the polepieces.'

try here: https://www.guitarinsite.nl/serienummers-yamaha_eng.php

I'm leaning toward the old Gibson Ripper, the alder body, not maple, [the routing seems right]. I agree the headstock must have been grafted on at some point.

save me some time...where have you already looked?

doesn't mean I can't be polite....

Nicely done, interesting chord choices. I also cover this song [in D major], and understand the vocal challenges with trying to lean on the original melody [like the opening octave 'leap' Garland employed]. Rene, kaibigan, if you could, please, post future acoustic and vocal tracks in the VOM1T 2022 [soon to be superceded] thread in Acoustic Guitar forum.