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Hewitt

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  1. The pots & input jack are covered with grounding cans. You need to pull the pickups out to look at the pots. After you get the cans apart.
  2. Besides me, of course ;)) I got a DP10 set up with 26 Focusrite Isa/Red8 and 12 api X3 outs via Apogie, with Data Mix and other cool stuff like 14 analog compressors. It is analog in to DP. Got the old tube mics nobody wanted and an intense desire to record live stuff in a stereo field. Lost the lab, but still got the gear. The room wasn't big enough anyway. I need at least 10,000 cubic feet to feel right. Right now I'm learning de noise, so I can finish converting old analog tape.
  3. Hi, So I'm Pat, I stumbled upon this site looking for pick guards for my girls, Blondy 'n Honey. Both are incredible Super 400's. Blondy is the first guitar I bought in '68, I was 20. First off is the disclaimer... Nobody believes the incredible carrier I've had, snicker, snicker, I don't care. I've had more fun in the trenches than anybody I know.... I grew up in Seattle, my parents displayed no interest in music, at all. It must have been when I was 3 that I pulled my mom from the kitchen out to the living room, pointed to the TV and said "I need one of those", a guitar was being played. That Christmas, a brand new Silvertone acoustic 5 dollar plywood guitar and cardboard case was sitting under the tree. I can still smell and see the colors in my head. At the lake house dad had some clay drums & snake skins from Trinidad, he tapped on one for me once. My parents said if I wanted to play the gtr, I had to learn the piano first - KRIPES ! That was a fiasco, I'm dyslexic, I fumbled my way through 1 year of lessons, but at the beginning of the next year, Sister Mary Obnoxis whacks me off the piano bench, so I bit her on the angle ;)) She says, "That's it, no more lessons for you". I say, "If I knew 'that,' I'd have bit you last year". Needless to say, it was a while for gtr lessons. I had about 5 when mom asks if I liked the lessons, I say I love them and mom says good, because if you don't do what we say any more, you won't get lessons. I respond, actually, it doesn't matter, he showed me the cords, gave me a chart, what else do I need? At 13, I was playing bass, dad rented me a black Supro and Gretch 2 12" @ 10 bucks a month for 3 months. At the end he asks if I liked the equipment, I say yea. He says good, you pay for it. I did. then I ask, why don't you just co sign for a loan to buy my own? he says yes, I buy a Vox Couger and a new '63 black Fender 5 knobbed Vibrato channel, single 15 Showman rig, just under a thou. I'm off 'n running, joined the union at 14. I'm from Seattle, there is no better place in the world to be influenced by gtr players, Nokie & Bob, Bob had a place by school where he would let kids play his gars, he'd also take a blond Showman & twin to the beach where we lived and let kids jam, quite fun. Jimmi was just off the Main Street where I grew up. I was there when Leon almost drown in the Green river, our paths crossed a lot. But when he came out I had no idea my uncle, the commander of the 101st, and also a Garfield hi grad, told Jimmi, "take advantage of your injury and go back to Seattle and play music like my nephew" (me :)) Both Jimmi and Harrison confirmed that... Jimmi wanted a 400, just like our idols had (Richard Dangle, Joe Johansen & Larry Corieal). He loved the idea that I bought my cousin, Danny Hofer's '67 big head strat, like his 3 touring gtr's. He thought Strats were the closest to a 400 in resonance and feel. He liked the big V necked '54's. By the end of the '70's, I knew just about everybody in the biz, played 2 Super Bowls, had 5 Guinness book of records for live performances, 1 for breaking the Beatles at the Super Dome in early 78, one for biggest varity prime time '50 years of Country music', one for biggest radio listeners, 'King Biscuit flower power hour', and the 2 Super Bowls. Opened for the Stones, after they broke our record, sadly 3 months after ours at the same venue... Then eventually came back to Seattle to play in the 80's. Did well too. Did the demo's for SRV 'n Thunderbirds for Bill Carter, with Eric Apoe, in my basement. Those gtr licks are mine... He was a big fan, I'd see him and his brother in the audience every once in a while. Opened for the T'birds a lot back then. The girls have had a lot of fret jobs.....Them '90's Seattle bands, they opened for us in the '80's. Not as easy these days, being older is harder to get gigs, I record a lot. The Girls, Blondy 'n Honey, they are fine. I was asked back in the '70's why I bought a Super 400 as my first gtr. I said, when I know how to play, I'll have a great gtr that I broke in. let me tell ya, they've been broken in. Still have the original cases & straps. And those are just the mostly believable parts. It gets crazy from there. The opportunities were incredible in both good and bad, I came out unscathed. And can still talk about it. Other than that, even in these strange times, I feel like I'm in heaven, no matter what it feels like in the moment. There is always happy, grateful, beauty 'n hope.
  4. Hi guys, I bought my first gtr Super 400, one of ,5 brought to Seattle by two reps from Gibson , I picked it up at the distrubiters. I picked the 2nd one, but I left with the 1st one. The serial number is 543100 up to 104, in 1968. It was the original issue of that round cutaway. I actually bought a '54 Les Paul first, but a week after I bought it. the seller Chris Larson (Gary's brother), asked me if he could get it back and sell it to Neal Young, yup, that black LP with the Crome P-90's & pick guard, it was Randy Backmans originally. Sooo, back to Super 400's, I got two... But let's stick with 'Blondy'. Gibson say's it is a '69 model, but I still have the paper work dated '68, bank loan 'n receipt. Two years after I bought mine, my roommate says I want one of those... I say I know where there is one in the window of Seattle Music on 1st Ave. He went there and bought it. We thought it was a later model, it wasn't. It is a '64 (according to Gibson). That SN is 822084, very light sunburst, I call Her 'Honey'. Honey is very beautiful, the wood is spectacular tiger stripped everywhere, just beautiful. I noticed a flaw at the boot of the heal on the neck, looks like a file mark, they fogged it in darker than the rest of the body. I 'think' Gibson left it in the back till they figured out what/how to deal with it... But Blondy is better looking, great tiger striping, but the back... The back, they said was called monkey fist, it looks like wrinkled saten... Do not worry about where or when your awesome 400 was made, if you love it, it does not matter what it actually is, enjoy it. I paid $1500 for Honey in 1980. All I know is they are all great. Put one next to any De Angelico. No comparison, the Gibsons are way better in every aspect. A rich man enjoys what he has. I used a Fender Twin, one of two original 15" models built for the 'Angel of the Morning', but way, way to loud. I traded for a Pro, it was awesome, still is. Did plenty of recordings with it 'n Blondy, then found the AC 30, great till I found a Gibson GA 40, But just found a '58 mint Silvertone 1394. I rock those 400's, turn it up and rip. It is also very nice for jazz. I found this thread looking for pick guards for both 400's. I think I can make a replacement that will stay whole for way longer by just not gluing the baking plate to the guard. All the pick guards I've seen die, start where the glue is. I might be wrong... Oh, but, till I tuned down to 432 = A, the girls never sounded better.
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