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b3john

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  1. Over three months later, this is the Les Paul Axcess stoptail I finally bought. Not the best picture, I know (it's from my iPhone). I'll try and get some better ones posted but this will have to do for now: John
  2. Yes' date=' but it's more complicated than that. According to Gibson customer service, the "personalization" may invalidate key parts of the lifetime gold CS warranty -- even when the "repair" work is done by Gibson themselves (let alone an "independent craftsman"). So a one-off custom shop order may be the only way to, for example, get a specific custom shop semi-hollowbody guitar with a Nashville bridge instead of an ABR-1 while still retaining the lifetime warranty. John
  3. AClayton and/or JMusic27... As a percentage, what would you guess-timate the additional cost to be for a custom-build over a "similar" stock guitar? Thanks!
  4. I've been using a Sparkle Drive with my Strats for a couple of years now. I love that combination of just the right amount of OD crunch without losing individual note definition. I've not been able to find anything that works as well. Just a great OD pedal, both separately and combined with a Maxon 808 (for lead boost). I also use a Barber LaunchPad for "amp cooking" (getting the full clean signal into the preamp right before it starts to breakup). You can really ride the volume control on the guitar for lots of different tones that way. For the ES-339 and 'buckers, right now I'm digging the OCD (from Fulltone). And for similar reasons, though that one definitely goes to eleven. And it cleans up really nicely with the volume control or a lighter pick action. :) I've got a FET Dream on order from CE Pedals. I wanted an Ethos but I just don't have the patience right now to wait 6 or 8 months for a pedal... John
  5. It would be nice to be able to sort the list of topics on the forum subscriptions page based on the column headers. Or, failing that, to at least have the list sorted by default on the date of the last post (in descending order). John
  6. Sadly, I found out this afternoon that it's only the treble tone control that has the push/pull coil splits (and it splits both the bridge and neck pickups, all or nothing). John
  7. Apparently Wildwood just orders a few of these with custom paint colors, which makes them a little more expensive. The Ebony ES-339 is going for about two benjamins more than the Vintage 'burst. Not that I'm complaining, I love black guitars! That's a pretty good price if you like the Antique Red finish. Anyway, it's nice to see these are becoming available outside of just the big-box stores. John
  8. Thanks for the replies, guys! @jamman: What I'm after is what anyone knows about this guitar that's not in the brochure. I've picked up various Les Pauls over the years but I don't ever remember playing one lighter than an SG, not until now. There is a lot unique about this guitar. Plays great, sounds good to me. I've read that some guys don't care for the chambered models, and really don't know what to expect from such a light guitar (changes in tone, feedback susceptibility, etc.) The reality is that I wouldn't be inclined to pay that kind of coin for a heavy LP, so at the end of the day it might not matter. I will try to get some pics from my phone in the next day or so. @BorisF: Thanks for the info on the pups. At least now I understand the discrepancy in the specs. And they are easy enough to switch out if I wound up not liking them. Push/pull coil splits on the tone controls? Really? I didn't even notice! John
  9. What can you guys tell me about the Les Paul Axcess? Almost by accident today, I stumbled across an ebony Les Paul Axcess Standard with the stopbar (no trem). This is the one with the completely smooth contoured heel and ribcage contour on the back. Unbelievably light for a Les Paul. Chrome hardware (might be nickel?), the pups are either Burstbucker 1 and 2, or "super hot" (whatever that means) 496R and 498T. Fretboard looks like rosewood with the trapezoid inlays starting at the third fret, it has an incredible low action, fast, with zero fret buzz. Antique cream-colored binding on top, with no pickguard (or holes where the pickguard mount would normally be). So what do I need to know about this axe (no pun intended)? What tradeoffs were made to get this so light? The website says "weight relieved mahogany body with maple top", what do they mean by "weight relieved" and how does it compare to a "chambered" model? What effect will that have on tone (specifically cleans)? What about the neck contour? Any concerns about the strength of that over the long term? This doesn't have the Floyd Rose, so I'm sure that helps matters. The tuners say Custom Gibson or some such but look like every other mint green three-on-a-side Kluson keystone tuners out there. How much work would it be to update them to locking Grovers? How do I tell which pups are in this? The online documentation seems to imply there are Burstbucker 1, 2 versions of this guitar and there are 496R, 498T versions. Did the stopbar version of this come with different pups than the Floyd Rose version? This is a new guitar from a respected local Gibson dealer. So far my search for a new Gibby has been pretty much hit or miss, but this is just one of those guitars that speaks to you, in spite of the fact that I'd never heard of the Axcess before. Thanks in advance! John
  10. Well, I spent the better part of two days (literally, the nearest two GCs are one or two hours away!) chasing around trying to find one of these in ebony at a Guitar Center. The first one had quite a bit of fret buzz in the range of the first through fifth frets, the second only had terribly noticeable fret buzz on the G# on the third string/first fret. Unfortunately, I play a lot of clean or partially clean bits (clean to overdriven then back again) and find that kind of thing to be a deal breaker. Neither case seemed to be a truss rod issue b/c I didn't see any reverse angle in the length of the neck (though I didn't bring my steel 18" ruler to test). I guess that leaves me to play the MF.com/GC.com lottery to try and get them to ship me a good copy [sigh]... What has everyone else's experience been with the Traditional Pros w/r/t fret buzz? Is this fairly common on a guitar of this level? Was I expecting too much? Was I just drinking the "Plek" koolaide? Should I be expecting higher action/setup than are typically found in a store guitar? (Realizing this is a Gibson forum, I really felt like I was missing something not being able to adjust individual string heights.) Thoughts or comments appreciated! John
  11. I truly hope the two of you will be in the 52% that live happily ever after. But... Take some advice from someone who was a member of that other 48%: Get a simple prenup that says you keep all the music gear and she keeps all the Longaberger baskets (or whatever she collects), regardless of whether you brought them into the union or got them after you tied the knot. John
  12. Well I've been working out "'Liz Reed" with a friend; during a break he showed me how he plays "Trouble No More" in an open E tuning (apparently this is how it was played live on the Fillmore album; I learned it with the standard tuning from their first album). Well... That got me started investigating open tunings' date=' which then got me looking at a bunch of songs that are apparently done in open tunings, esp. "She Talks To Angels" on acoustic in open D (though I actually play Hammond on this) and a *bunch* of Stones tunes that are mostly in open G. Then I restrung the low E with an extra A string on my hardtail Am Strat to get a "power open G" tuning -- basically the fifth [i']and[/i] sixth strings are both tuned down to G -- though I read Keef just takes the sixth string off. Then I started trying to work up a new guitar part in open G but capoed up to B-flat for a song I wrote a few months ago. You know, sometimes this stuff takes on a life of it's own... :^) And I still haven't gotten back to that open tuning slide on "TNM." If I had any discipline, I might actually get good at this. LOL! John
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