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Jsinicropi

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About Jsinicropi

  • Birthday 10/22/1966

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  1. True, however the listener is not the one playing the guitar. A guitar that has a special connection with the player allows the player to often times, be more creative and loose themselves in the music. I find when I have a great piece of gear or a great tool, I forget that I'm using that tool or instrument and can concentrate on the taste at hand, whether it's playing the guitar or wrenching on a project. If I have inferior tools or instruments, I'm constantly fiddling with them to try and get that sound so that I can close my eyes and just play. That being said, I'm sure there are many recordings that we won't hear what the musicians heard at the exact moment when there were doing they're thing in the studio. Page says he always goes back that one Les Paul and will never get rid of it. He used it on most of the recordings and live shows once he got it from Joe Walsh. EVH played that awesome beat up old red white and black strat which had many different necks and pickups but the same body. Gary Moore had Peter Greens LP and that was his favorite for some reason. Slash had the Kris Derrig fake Les Paul SRV had that killer beat to **** strat All these guitars are iconic and rock guitar music world and you can recognize them by sound and sight because of the special connection between the artist and his tools. I've played crappy guitars and worked with inferior tools and it sucks. I work in an industry that says use the right tool for the right job. Same theory goes for musicians and instruments, IMO Put them in my hands and I'd like hate the way they felt and played. I played the $25K EVH Frank once, I thought it was the biggest piece of s@#$ I had played and actually couldn't play it. Some of the greatest recordings were also done by some of the best sound engineers. E Kramer G Martin T Templeton Q Jones Icons who produced iconic hits. I say the listener cares as much as the musician playing that instrument.
  2. In my opinion, the reason those guitars of that era sounded that way had much to do with the construction techniques, parts used, better wiring, better detail work and I believe the finish had alot to do with it. All these guitars had ABR1 bridges, hide glue, aniline dyes, pull back wiring, awesome pots and of course the PAF's... the longer neck tenons, and those fat 50's necks. By doing some correct "finish" work on guitar, not a refin, but taking some of it off? I think gets things closer to that woody tone. Also I'm sure the environmental changes may have affected the trees, who knows. I do know there are many success stories in making the solid body Traditionals sound closer to the historics by doing a few things.
  3. Finding "The" Les Paul that has the mojo for you is hard to find. I played many Les Pauls, USA models as well as Custom Shop ones. RI series even at my cost as a former GC employee at the time for a 58 or 59 was stil over $4200. The Traditional cost me about $1300 and I had returned one before which I purchased then played this one and said ahhh... this is the one. I do hear a tonal difference in historic series. They are very different than the rest of the Les Pauls They have a shallower dish carve thus the higher pickup rings. Does this affect the tone? Maybe They have the ABR-1 style bridge - good ones have a super light aluminum stop tailpiece and are all nickel not chrome. Does this affect the tone? Maybe I've been told the ABR-1 style bridges have more wood contact than the Nashville style. I maybe wrong. The head stocks have a real Holly veneer instead of plastic. These is the black overlay which says Gibson at the top. Does this affect the tone? Maybe The RI series have thinner binding and nitro They also have a long neck tenon while all other have a short tenon. Some had a mid neck tenon The wood selection on most of the RI series is also lighter and more resonant. My understanding from one of the Gibson reps is this. The mahogany used for the lighter guitars comes from the top of the hill and other heavier wood comes from the trees at the bottom of the hill. As it rains, minerals flow down mountains and end up in the root network of those trees and tends to make them heavier, and cheaper as they don't have to pay for the fuel and extra work to get the heavy equipment to the top of the mountain to get those trees. Can you make a USA Gibson a Custom shop. No, but can you do few things to it to get it to have the essence in tone to the RI series... Historic makeovers does do the same process for traditionals as they do RI series and it's the same cost. Part of the reason they can use the Traditional series, those which are solid and not weight relieved or chambered have the same bones as the RI bodies and necks aside from the tenon. Removing some of the finish and putting in the correct pickups and eletronics is also key to making "it" sound old. Sure you can get all the parts. But if you don't have the talents like myself in doing it, you need to have someone that knows this trade to do it right. They are called luthiers for a reason and good ones are paid well for it. I don't care about resell value as I don't plan on selling. I plan on playing it which I do. It's a year old and has some wear and tear already but doesnt quite yet have THAT sound. The wires inside the stock USA models is basically phone line wire. Not era correct. There are also many different caps and pots and bla bla bla... Tons of stuff here. I've need told the main thing that really helps determine the TONE is the finish. Less finish, more tone. Less impedance, more tone. I've seen a couple Traditional conversions, one by Bill Nash,http://www.kaosmusiccentre.com/the-kaos-blog/new-old-gibson-les-paul and one by Tom Doyle https://www.facebook.com/DoyleCoils/?fref=ts I'm hoping someone out there has some info on this and can chime in. I know the store manager at Kaos Music and he said Nash doesnt' do conversions for private party, however this one does sound better now and is amazing. Thanks guys!
  4. Well... I've played many Les Pauls as I was a former GC Platinum salesman. I know the differences between historic types or custom shop guitars that have an ABR1 style bridge as well as a different top radius and neck joint. That I can't change. However the electronics and the "right" setup and fret dressing is key. Mostly all Nashville USA Gibson electronics, aside from the pickups are not USA made. There is something to be said about the correct wiring, wires. pots, caps and little details that make a guitar and Les Paul special. The Traditionals are the only USA LP guitars that have a solid unchambered or weight relief and with a 50's neck. The only other guitars like this are from the custom shop.
  5. I don't plan on re selling this one. I've already done some modifications. That's not an issue to me. But thanks!
  6. Who has information about who does the best Les Paul Traditional to 59 conversions. I've seen many out there. Tom Dolye appears to be doing them now as well as some others. I'm very much considering doing a killer conversion with an ABR-1 bridge and some relicing. This who konw, please chime in!
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