As a matter of fact, I use it on acoustic gigs unplugged. The pigments in the green are a few microns smaller than the other pigments, which deflects the wave form of the vibrational characterstics already enhanced by the increased moisture density in the wood, so that it rings acoustically like a prewar D-28. But of course, the coup de grace is the breen burst. It's a harmonic richness unparalleled in the Japanese imports of the 70's. Also, the natural degausing of the pickups, especially these old goldfoils, is on a much less linear degradation, more asymptotic, over time, and it really enhances to crisp highs without attenuation the mids and lows. It resonates and sustains like no other guitar. For some reason, and I believe the above contributes to it, these conditions led to these guitars having a little more moisture trapped in the pores and are a bit heavier, and sustain a lot more due to the vibrational transfer from string, to wood, to water, back to the wood of the next cell. I also believe Teisco had a drying room with different conditions for sunburst guitars. Click to expand.I believe that, due to the Pacific ocean surrounding Japan, the temperature and humidity were perfect for the moisture content of the woods prior to painting.
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