[Norlin SGs...What Are They?]

The Tarbacks, to me, sounded less defined than a standard PAF-voiced pickup. By that I mean the clarity between strings. Power chords sounded awesome - big punch, but more refined chords, even 7th's, were muddy. Bite and attack was not as prevalent with the Tarbacks on leads. The Pat. No. Sticker'd pickups are a vast improvement to the style of music I play - 60s/70s rock, blues.

 

The new bridge really enhanced the strings' energy. This is most evident acoustically (I can feel it now when playing) - and it probably adds to the clarity of the notes.

 

I'm not saying the Tarbacks are bad pickups. I'm saying for the style of music I play, truer to spec PAF style pickups work best to suit the need.

 

I am saying the electronic's were less than desirable, for me.

 

I am saying the strings' engery seemed to die on the old bridge - not allowing it to pass to the body of the guitar.

Thanks for the explanation. This makes sense to me. what you say about the bridge may not be as "vital" to me since my SG is Bigsby equipped ... at least at the moment. Yet I saw the saddles were not very tightly fit ... i may try another bridge soon.

[Norlin SGs...What Are They?]

 

Swaps (all original stuff is in the case):

 

Tarback humbuckers to Gibson Pat. No. Sticker'd humbuckers

Stock elex to RS Guitarworks Superpots 500K & 500K tones; vintage .022uF Bumble Bees

Stock Schaller (harmonica "weird large bridge") to Callaham ABR-1 & studs

Stock stopbar to Gotoh aluminum & TonePros locking studs

Speed knobs to 1971 Gibson knobs (came with my ES-175)

 

Granted, the upgrades cost more than what I paid for my '76 SG w/ case in 1977, but it's 4 times the guitar it was.

 

 

Funny you changed the pickups, may I ask you why ?

I changed the "tarback" ones on my first Custom SG, replaced them with "classic humbuckers" as they called them in 1976, out of pure "ignorance" and ended up using one of them to improve the sound of my 1989 Les Paul Standard ... so maybe these pickups weren't that bad, were they ?

 

I admit one flaw, the middle PU is out of phase with the neck PU and since they're sealed there's no way one can reverse the phase ...

 

And did the new bridge really improved the sound ?

In which way ?

[Norlin SGs...What Are They?]

I owned two "Norlin-era" Custom SGs. While I do not remember the first one as a specially brilliant instrument, the second one (1971 or 1972) is a wonderful guitar that matches any of my other Gibsons (none of them Norlin). Maybe it's just against the odds but ...

[Les Paul Junior Club]

I'm a fan too ... here are mine :

 

[Firebirds : reverse vs non reverse.]

Interesting ansewrs guys.

I confess I played my "non reverse VII" live again yesterday end enjoyed every second.

I hear you when you say "resonant".

And of course Clarence "Gatemouth" Brown is unknown outside the hard core blues fan circle (I am one of them) maybe we should mention Brian Jones who played one ?

I remember Steven Stills claiming these guitars were the best of both ( Strat / Les Paul) worlds.

Oh and let's not forget Warren Haynes who definitely had me saying "let's buy one non reverse" !

LOL.

[Firebirds : reverse vs non reverse.]

Oh I never noticed this "slider switch" on early non reverse ... but now that you mention it.

Luckily the custom shop reissues do have the standard togfgle switch.

[Firebirds : reverse vs non reverse.]

Hi guys.

Maybe this question will sound silly to you but here I go.

The non reverse firebirds seem to be not quite as desirable/collectible/sought after guitars as the reverse ones.

But why ?

Is it only the "look" of them ?

Or are there tonal differences between them ?

I mean for example are a reverse VII and a non reverse VII different sounding instruments ?