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jonnyg

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Everything posted by jonnyg

  1. That's not an S-Series guitar it's an EM1 Rebel. They were made from the early to late 90s and were quite high quality. Alder body, maple neck with rosewood fingerboard. Unusual switching system with pretty much any combination of humbucker/single coil tones. Quite a rarity to see one.
  2. It's a FAT210 made between 1999 and 2004. They were pretty much the same spec as a similar low to mid range Squier Strat. They were preceeded by the S-210 1996-98 which was exactly the same guitar except for having a single coil in the bridge position. The FAT-210 was just one of a whole range of S-xxx type guitars from the S-200 up to the S-900 made between approx 1986 to 2004. Most had the droopy/pointy headstocks so popular in their day. There was also a T-xxx range which were obviously based on the Telecaster.
  3. Yes, the Japanese made Rivieras do have binding over the fret ends. If you've seen a Gibson done in the same way, that's what it looks like. I've attached a pic. It's a bit blurry but you can still see. It's of my own '83 Riviera which I bought new in 1983. As to whether that era/model has been faked or not, I couldn't say. They seem to sell for a good chunk of money these daysso it may be worth doing to someone somewhere. I haven't heard of any though. If you want to put a date on yours there's a seven digit serial number. Reading from left to right, the first number is the year, the second two are the month, the remaining four are the production number. E.G. 3082016 would have been made in August 1983. Hope that helps
  4. Your Riviera is an '82. The first number is the year and the second and third give the month. 203**** = March 1982. I have an '83 model 305**** = May 1983. Mine differs from yours in that it has the white TRC and scratchplate and is completely stock except for the control knobs which I changed for gold bell type knobs. I kept the witch hat knobs 'just in case' but I have no intention of selling it. I bought mine new in 1983 as a backup for a mid sixties Gibson 335 I had at the time but found I actually preferred the sound of the Riviera which is why I've never even considered changing the pickups to anything that would, or could, have a more Gibson like tone. I also preferred the neck shape which was chunkier than the 335 I had. Condition is probably 8 to 9 which is pretty good given that I gigged it for fifteen years. A minor ding at the top of the neck and a bit of buckle rash is all. Even the frets have plenty of life left in them. The original case is pretty scuffed though. As I said previously, I've never even considered selling it so it hardly matters.
  5. And you do it very well. That tune of yours 'Then You' (is it yours?) has a really great feel to it. It's crying out for a great lyric.
  6. I'm not sure if the SST Studio is the same model that I have because I bought mine used from a pawn shop for £50.00 and there's nothing on it to identify the exact model. Mine is a 2003, has the Chet Atkins signature on it and the volume/tone knobs on the top shoulder so it could be the same. Hum is almost always an earthing issue. Take the plate off of the back and check the connections are tight and there are no broken cables. The mini jack socket on the pre amp board is for the pickup lead and the output cable is hard wired to the PCB. Also, take the output jack socket plate off and check that the socket connections are secure, clean and making good contact with the jack plug. There's a possibility that it could be a faulty pot. They are cheap and not difficult to replace if you're handy with a soldering iron. It's pretty obvious how to do it by just looking at it with the old pot in place. I doubt there's a wiring diagram for the pre amp. Unless you have the equipment to test the components and the skill to replace them it wouldn't be much use anyway. I have mine running passive and it wasn't that hard to do. I didn't bother wiring in the tone and volume controls so it was just a matter of wiring the pickup to the output jack. Frankly, the pre amp Epiphone fitted must have been the cheapest load of Chinese junk they could find. I think it sounds better, or at worst no different, without it but that's just my opinion.
  7. Looks like a mid 60s Crestwood Deluxe with the 'wrong' headstock and a varitone. Does nothing for me, particularly in white. I'm still waiting for the dog ear P90 Coronet that was rumoured to be in the pipeline as long ago as 2008. Given that the body and neck were identical to the '66 Wilshire reissue (a great guitar that I bought immediately) I'm surprised the Coronet never turned up. Epiphone released a picture of one but that was as far as it got.
  8. I got the control knobs from Rokas in Denmark Street but they've been gone for a good while now. You can get similar from Axesrus for £6.00 a set http://www.axesrus.co.uk/Gibson-Style-s/1941.htm They're the 'Top Hat' type. I would have probably been just as happy with the 'Bell' type, but I expect I bought what Rokas had in stock at the time. It was a long time ago.
  9. I've got one of those in Antique Sunburst. I bought it in 1983 as a backup for my ES335 and gigged with it for 20 years. The only 'mod' I ever did was to change the control knobs (kept the ugly 'witch hat' originals of course). I preferred it to the 335 so I eventually sold the Gibson to fund a Telecaster purchase and kept the Riviera. The Riviera wasn't 'better' than the Gibson, it just sounded different and I preferred the sound and the neck shape (other opinions are available). It hasn't had much use in the past ten years but the average £750.00 to £850.00 selling price wouldn't get me anything much, if any, better. I'd consider doing some sort of trade for an Epiphone Emperor of the same period ('83 - '85) but they seem rarer than the proverbial rocking horse ****.
  10. Not only seen, Jeffery, but actually once owned. The guitar was a MIJ Telecaster with a 'Photo Flame' finish and very good it looked too. Looked good, played good and sounded like ****. Worst Telecaster I ever owned, and I only owned it because a friend needed cash in a hurry. I'm not a wood snob but I think they were made of basswood. I haven't had good experiences with basswood as it seems to be lacking in high end frequency, has little sustain and dents even if you look at it hard. Other opinions are available of course, and I expect there are various qualities of basswood, but I avoid it where possible. But looks wise, stunning and easily repeatable because they only ever have to find one piece of stunning flamed wood to photograph.
  11. She's looking good. All you need now is the Fender type control knobs and a white TRC. The Fender knobs are known as UFO knobs and you can get them from a company called Axesrus in the UK, but you can probably find them closer to where you are. If you need a white TRC, try sending a PM to frenchie1281734003. I know he's made TRC's for other members and he might be willing to make you one up. Good luck with it, the early 80's Riviera is a great guitar. (Don't forget to keep all the original parts)
  12. I'm not enough of a fan of Oasis to pretend that I can be Oasis specific. The Riviera on the left in the pic you posted is (at least visually) stock as distributed in the UK from early 1983 until 'late 1985 - early 1986'. White TRC, scratchplate and switch tip. Black witch hat knobs with silver inserts are correct (one of the inserts on that guitar have fallen off, a not uncommon occurence) but I can't see the metal position pointers (thumbcatchers) underneath them. The British release guitar labels on all the models I've seen read, 'Riviera AS' not 'Riviera ASB'. Maybe the 'B' stood for Black parts. As to the one with the Bigsby, it's quite possible that the original switch tip unscrewed, fell off and was replaced with a black one. White replacements are easily available if you wanted to change it. Maybe the control knobs were changed because the owner didn't like witch hat knobs. Again, replacement witch hats can easily be found. I have an '83 myself, which I purchased new in August 1983, and the first thing I did was to dump the witch hats (I kept them in case I wanted to sell later) and got some better looking (IMO) gold ones. It's just a preference. I bought a re-issue '66 Wilshire which came with a black switch tip on a white pickguard, which looked 'wrong' to me, so I changed it for a white one. I like it better like that. The difference in colour between the two guitars is more likely to be down to the lighting when the picture was taken. Here's a picture of mine which is stock except for the previously mentioned gold control knobs. It doesn't look as dark as that in 'real life'.
  13. Like I said initially, it's just my opinion. What you say is fair comment with the exception that I thought the original idea of neck binding was to cover the end of the frets and eliminate any sharp ends. If people are happy with the way things are done now then it's their choice, their decision and their money. My own preference is for guitars with less time and money spent on decoration and more time and money put into the frets, nut, components and general setup. However, if we all liked the same thing it would be a very boring world.
  14. Just my opinion, but I don't see the point of bound necks the way it's done on low to middle range guitars these days. I could see the point when the binding covered the fret ends like Gibson etc still do, and as my early 80's Riviera and an old Antoria ES175 have, but the way it's done now with the frets over the binding just seems pointless. Other than for decoration I don't see that it serves any purpose.
  15. They're also (currently) available at Andertons in Guildford. From their site they have in stock - 6 natural, 5 sunburst, 5 cherry without trem and 6 cherry with trem. All the non trem models are £599.00 and the trem model is £629.00. No sign of the Sorrento that I'm waiting for unfortunately.
  16. I use the low end Live Intro for some things. I like the quick and easy clips method for making up some drum or bass tracks and it is very stable. However, I did find the mixing process less than satisfactory which is why I switched to Reaper as my main DAW. There's room for both Reaper and Live in my setup though as the strengths of one makes up for the weakness of the other.
  17. I don't know if the OP resolved the hum but part of the reason was probably the total junk electronics fitted. I have the older (almost identical) model that was just called the "Chet Atkins" and I ripped all of the pre amp etc out and replaced it with something that worked. It sounds better and there's no hum. The models with the shoulder mount pots/knobs seem to be the worst of the bunch but they are mostly fitted with passive under saddle pickups which work fine without a pre amp. It's a shame the electrics were so poor because it's a good looking, well playing guitar. As for sizes, mine measures Lower Bout = 14 1/4" Upper Bout = 10 1/4" (across the cutaway) Body Length = 19 3/4"
  18. Hey FredD I started out on a Ferrograph too, although I started in the early 70's with the stereo, Dolby equipped 702D. Great machine, built like a tank compared to a Revox and weighed about as much as a tank too. Cost me 20 full weeks wages but worth every penny. I've still got some old cassette mixdowns from that machine and they sound much livlier than the digital recordings I do now.
  19. BentonC tells you no lie there spacealf. There's so much free stuff out there that you probably couldn't try it all in a lifetime. It's definitely worth trying some of the reverbs, EQ's and compressors. A lot of them are as good or better than the paid for versions. Obviously virtual instruments are going to require some keyboard or MIDI programming skills but FX is just knob twiddling. Then there are the drum plugins. I've yet to hear a standalone drum machine at ten times the price that comes close to the $30.00 (currently) BFD Eco, and there are even ways of getting a comparable, multi-sample/multi-velocity kit for free. I'm still running XP 32Bit and there's no problem at all. If you ever get interested, KVR Audio, although far from the only place, is a good place to start looking > http://www.kvraudio.com/q.php or just Google best free reverb/EQ/compressor vst (whatever you're looking for). It's a slippery slope though, and you do have to keep in mind that you're there to make music not audition plugins.
  20. You shouldn't have any more noise problems with a cardioid pattern condenser than you do with an SM58, especially if you team it up with a noise gate plug-in. Not that there's anything wrong with using the '58. I often prefer to use one if I want a slightly thicker, "shouty" or different lead vocal or for backing vocals etc and some of my friends wouldn't use anything else. Just saying a condenser shouldn't be a problem.
  21. It surprised me that Studio One didn't get a bigger user base when it was released since it came from the freebie Kristal which a lot of people used, including me for a while. I went from Kristal to Samplitude initially but most of my friends either moved to Cubase or Sonar/Cakewalk without considering Studio One. A couple still use Kristal. At the end of the day once you find something that works for you there's little point in changing. Loads of guys are happy to use Audacity because it gets the job done for them. As Benton C said in another thread, one of the best things about music these days is you do have choices.
  22. That's very true. I know a lot of DAW fanboyz who dismiss Pro Tools out of hand for whatever they perceive as faults, but things don't become industry standards for no reason. I've never used Pro Tools but I've seen it working in studios and it can be quite impressive.
  23. I'm with you on Reaper brother sinovic even though you left out a few things like, The small footprint 6Mb download. Just one version - no starter SE packs here with upgrade paths to part you from more of your cash. Want to work on your project at a friends PC/Mac? Install Reaper on a USB pen drive and carry it with you. That's allowed. No web authorisations here. Don't like it - just delete it. It hasn't filled up your registry. No uninstallers necessary. Don't like the look of it - change it with other themes or make your own. No bloatware - doesn't come with a load of VSTi instruments, samples and trial versions you'll never use. Reaper VST FX are as good as many commercial offerings costing $$$$$$. Regularly updated if bugs are found - the developers actually read the forum and do something about it.. The forum - is THE BEST. You'll probably get an answer to any problems the same day. The cost - Reaper, full printed manual and tuition videos can be had for around $120.00. The PDF of the manual is free and the guy who writes it is an active forum member. Plus it sounds great, as sinovic said, and it's easy to get started with and/or as deep as you want to go. I still also use Ableton Live 8 for the nice and easy MIDI and audio looping but Ableton works differently to other DAW's anyway. Previously used Samplitude but I wouldn't give up Reaper to go back to that. (You were slightly wrong on the licence though. If you buy Reaper v4 now (actually v4.02 at the moment) it's valid until v5.99. That could be around 4 years worth of updates judging by how long v3.x was around.)
  24. As I assume you're in the UK Nidge I would say that they are not too rare over here. I've seen five for sale in the last year or so for around £200 - £275.
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