Robbie1299

If I am replacing the bridge pins with TUSQ (white, no dot), is there anything I should consider, other than the effect on the tone? The originals are slotted. But it looks like Sweetwater sells different sizes. I don't have calipers.

It does look a lot nicer with the rosewood bridge. I just want to keep it original in case I ever really need that Acoustasonic or if I decide that I need a good (but not this good) acoustic for playing out, and I need to sell this one.

Thank you everyone for your advice. I can clearly see the purist/functionalist debate going on here. I've been mostly playing electric, and in researching pedals, it's kind of crazy how devoted some people are to analog pedals. I have a Boss MD-200 multi-mod pedal that I think sounds awesome. But it doesn't sound exactly like Hendrix or Gilmour, so it sucks. I can see where some gear objectively sounds bad (e.g., muddy, losing headroom), but I think most judgments about gear really are just subjective. I took this Gibson to Guitar Center along with my x-series (formica?) Martin, and compared them to their Martins, Taylors, and Gibsons, becasue I was thinking about selling the Gibson and downgrading and keeping some cash for other music-related endeavors. I honestly thought that they cheap Martin sounded as good as the new $2,500 Gibson at GC. But when I compared it to the similarly-priced Martins, and Taylors, it sounded really muddy. You could almost hear the formica. I'm sold on the idea of upgrading the Martin to real wood one (though I actually liked Taylor's feel better). But then I pulled out the Gibson with plastic bridge (and 2-year-old strings), and I thought it smoked the $3k Martins and Taylors. It most definitely sounds clear and resonant. I liked it a lot. I decided not to sell it. If it really does have a ceramic bridge, I'm not messing with it. Especially after reading all of these responses. By the way, and I anticipate getting jumped for this one... I tried the Fender acoustasonic, and absolutely loved it. When I perform, I'm not risking damaging this Gibson or getting it stolen. And I love the acoustasonic's acoustic sound and how it would enable me to bring just one guitar. Let the ritual murder begin.

I don't want to permanently make my '63 SJ "un-original." It seems like if I leave the original plastic bridge, and I just pull out the plastic saddle and replace it with a Tusq one, I can swap them back if I want to sell the guitar some day. Does that sound right? Is it a bad idea? I also plan on putting in Tusq bridge pins and keeping the originals for later.

I am most definitely talking about radius. I know the difference between width and radius. I'm talking about curvature. My Schecter has a flatter 14" radius, and I really like the Fender Vintera Jaguar/Mustang short scale with 7.25" radius. I'm just wondering how small of a radius you can get with a Gibson acoustic.

I'm more of a singer and a songwriter. I won't ever be in a 3-piece band. I will need a lead guitarist. Some people are just better at guitar. I'm just looking for the most playable guitar I can find. The next time I have money, it will be a Vintera Mustang. No question (short scale, round fretboard, light, sexy). But I would like to find that as-close-to-perfect acoustic now. I think I'm just going to stay with the SJ, unless someone has an idea of a Gibson with a smaller radius.

I have a '63 Gibson Southern Jumbo and a Martin dcx1E. After several years of playing, I am sure that longer scale lengths are a problem. I love my American Jazzmaster, but I have a hard time playing a D/A (5-5-4-2) for example, where you have to stretch your fingers. And I do have some trouble with fretting barr chords, so I really like rounder fret boards. Money does not exist at this point. I'm stuck with what I have, unless I can sell either the Gibson or the Martin. But the Martin will probably only fetch me $500 max. I've looked into selling the Gibson, but there appears to be a crack in the body when viewed from the inside of the sound hole, and the neck pocket has an apparent flaw. So I'm thinking that I'm really only going to get $3k for it. So if I sell them both, I'll have $3,500. Then if I go out and by a Gibson-scale guitar, it will have to be a Gibson, because no one else makes a quality short-scale guitar. And will that guitar be more desirable than a '63 Southern Jumbo? I'm not convinced. Unless I can find one with a Gibson scale length and a 9.5 or 10 radius.

I really only play electric, and I love the 7.25 radius Jaguar neck. What is the smallest radius that Gibson makes for their acoustics?

That's because you live in Newport News. I live in Charlottesville. It's beautiful. If you like the outdoors, local restaurants, and live music, it's a great place to live. I'm mean it's a terrible place to live. Nobody should move here. Barf!

Any idea how I might find the best person to check it out or fix in Viriginia? Gibon's page on authorized service people only lists one, he's almost 2 hours away, and it looks like he's dedicated to electronics. Taylor lists a shop 1.5 hours away, and Martin hasn't gotten back to me.

I would like to sell my '63 Gibson Southern Jumbo, and I'm trying to figure out how much it's worth. It's never been cleaned, but I'm afraid of using anything other than water to clean or polish it. The finish is checked, and the fretboard and frets are dull. I'm afraid that putting a polish on any part of it, or polishing the frets will somehow damage or "un-vintage" it. But most importantly, any suggestions on what it's worth, or what might be going on with the back of the neck pocket? The neck was never repaired if your wondering. The photos are in the link below. https://imgur.com/a/Zh3afst

I would like to sell my '63 Gibson Southern Jumbo, and I'm trying to figure out how much it's worth. Also, I want to polish it before putting it up on Reverb. The finish is checked, and the fretboard and frets are dull. I'm afraid that putting a polish on the fretboard or the finish, or polishing the frets will somehow damage or "un-vintage" it. Any suggestions? The photos are in the link below. https://imgur.com/a/Zh3afst

I'm trying to change out a pot on my Schecter S1+, and the one I purchased from Sweetwater doesn't fit in the hole. There are two volumes and one tone. It's the tone hole. The other two holes (and all three pots I bought) are 3/8". The tone hole is bigger than 5/16", but smaller than 3/8" (6/16). What the hell? There was an A500k pot in that hole before if that matters. I don't see shaft diameters listed on pots listed on Stewmac or Sweetwater.

I do not like GD or Blink. Though if they could learn to sing, Stay together for the kids gets me. My punk comes from Fugazi, and sometimes Minor Threat. I like the punk attitude of Isaac Brock, before he sold out.

After thinking about it more, I think I might be looking for warmth and definition. If I want that Sonic Youth bite and trebble (I know, they do it with pedals), I already have a Jazzmaster. No need to have two guitars that sound the same. I think what I was getting at with the Radiohead/In Rainbows reference is that I want a pretty sound. As much as I love Fugazi and Sonic Youth, the kind of sound that really draws me is the sound of Weird Fishes. I'm not saying I want to replicate that, but I can't imagine a prettier sound. I was an avionics technician on F-15s in the Air Force, and I can't hear subtleties in guitar tone. And I'm more of a melody and lyric writer than a guitar player. So I figure it would be best to just ask for advice. So am I looking for warmth? and if so, how do I get it with a Gibson scale, without considering the amp. I'm using a solid-state 50-watt Fender Princeton Chorus circa 1998. It's a 2x10 or 2x12. But I'm mostly recording anyway - through a Scarlet 2i2 / Macbook Pro. I can't get a different amp. Don't have the money. And I don't have the time or money to deal with changing tubes. In other words, how can I get that kind of sound above without switching amps? I do have an MXR 10-band EQ pedal. Maybe that will do it? In which case, I just need definition, and thus maybe I should go with single-coils? I don't need "hot" pickups because I'm not using tubes.

By definition, selling out is the antithesis of punk. If Green Day is punk, then we're in The Upside Down, and Eminem is country.

I do want my own tone. But I'm not a natural musician. I'm the kind of guy who plays punk because all I can really do is slide around with power chords. My ear is not good. I'm just trusting bands I like to help me pick good pickups. I read all of these posts from different people arguing about what pickups sound muddy or tinny, or whatever, and I figure if a band sounds good to me, they must know what pickups are good and which ones suck better than some random guy on a message board. But I don't have any way of knowing which pickups they actually use, so I'm hoping someone can guide me.

I have an SG-scale Schecter and I want to upgrade the pickups. If I want the SG sound from In Rainbows, which combo would be better? Seymour Duncan SH-2 Jazz (neck) and SH-4 JB (bridge) 490R (neck) 490T (bridge) Background: I'm a rock singer-songwriter, and it almost all chords and two-note strums (not necessarily 1-5) when distorted - think "optimistic." I don't usually hit single notes. But I do play clean and distorted. I'm a big fan of the Sonic Youth sound as well, but I already have an American Performer Jazzmaster. I know... I know... it has a lot to do with the amps and the pedals. But I want to pick out some pickups first.

So, I'm going with linear pots for the volume and tone for my Schecter S1+ (24.75" Gibson scale). I'm putting in a Seymour Duncan SH-2 Jazz in the neck and an SH-4JB (or a Rickenbacher HB-1) in the bridge position. I'm a fan of the Sonic Youth and Fugazi sounds. Any thoughts on the pickups would be welcome (I also have an American Performer Jazzmaster), but I digress. I'm hear to ask about pots. If I'm using 500k pots, does that mean for volume AND tone? So, I'm going with linear pots for the volume and tone for my Schecter S1+ (24.75" Gibson scale). I'm putting in a Seymour Duncan SH-2 Jazz in the neck and an SH-4JB (or a Rickenbacher HB-1) in the bridge position. I'm a fan of the Sonic Youth and Fugazi sounds. Any thoughts on the pickups would be welcome (I also have an American Performer Jazzmaster), but I digress. I'm hear to ask about pots. If I'm using 500k pots, does that mean for volume AND tone?

I get that. But do they say "Kluson" or do they say "Gibson?"

He's telling me that the ones that say Gibson are only on the more expensive models, and that the lower models come with stock Kluson-branded tuners.

I'm meeting a guy tonight to buy the exact guitar listed below. He said it's stock with no alterations. But it has Kluson tuners. It looks like they're the cheap variety (also linked below). I emailed him and he said that the tuners came stock. Is this true. Is there anything else I should be looking for? It looks like it's a 2002. If I took off the pick guard and looked at the pickups, how can I tell if they are the originals? charlottesville.craigslist.org/msg/d/covesville-gibson-sg-with-tkl-hard-case/7244058450.html stewmac.com/parts-and-hardware/tuning-machines/solid-peghead-guitar-tuning-machines/kluson-3-and-3-deluxe-series-tuning-machines.html

How do I find original tusk bridge pins for a 1965 southern jumbo? I don’t want new ones.