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adey

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About adey

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  1. Thanks for the post suicidehummer. You've managed to find the only pic of a Pearloid finish Extreme I've ever seen. You are correct mine is the black version of that finish.
  2. The guitar plays beautifully It's well made with a nice neck that can take a very low action. No sharp fret ends. Reliable branded stock tuners and hardware. Re-assuringly heavy as you would expect from a Les Paul. When I came across it in the store, it was a little scruffy on the back and bottom of the body. Somebody had been less than fair with it in the past. There was minor damage where somebody had dropped it down hard on the bottom strap pin. When I got it home I gave it a good clean and refilled some damaged woodwork around the strap pin hole and replaced the bent strap pin screw. I painted over that area and other dings on the back with Heal Renew (shoe restoration paint), as this always give good results on a gloss black finish. Fortunately the Pearloid top was immaculate - no damage or marks at all. I replaced the control knobs with an exact matching, but heavier duty, set. I also replaced all the control pots - nothing wrong with them, but I prefer a smoother linear gradient on the volume and tone controls. The original engraved pickup covers shined up beautifully and I played the guitar like this for a while. But in truth, the Extreme series seemed to feature some pretty powerful rock pickups which I thought were lacking in tone. So being so pleased with the guitar, I treated it to a set of Seymour Duncan humbuckers - JB in the neck and a Seth Lover in the bridge. Cost as much as I payed for the guitar, but more than worth it in my opinion. It now has a deep late 50s/early 60s vintage tone. Much more my style, as I gave up hard rocking some years ago.. The clarity between strings is really noticeable and the strings really ring out. The tonewood of the guitar is undefined, but whatever it is it really suits the pickups. Less 'push' than the real mahogany you'd find in a Gibson - but this all adds to the clarity of the guitar even with overdrive. As ever, all original replaced parts retained for 'back to stock' restoration in the future if nec. I'm keeping the original scratchplate on the guitar. I did toy with the idea of a black replacement and black knobs when I bought the guitar, but don't regret leaving it as it was designed to look. I have a black Strat with a a black pearloid scratchplate and black knobs, but it actually doesn't look as good in reality as I thought that combination would look. A bit cheesy if I'm honest. Overall I'm a happy camper. I'm a Strat guy really, but I always wanted a les Paul. Now I have a good quality LP style guitar for a 3rd of the price I'd pay for a new LP Standard. I do like the look of the new Epi'59s though. Thanks for the interest! Adey
  3. Thanks Sheila.. "uiniterested" was a mis-spelling I didnt catch! Glad you liked her..
  4. OK, I should know this.. But I am sufficiently embarassed to have to say what does HNGD stand for? Some variation of GAS perhaps? Someone put me out of my misery.
  5. Funny you should say that.. When I saw the guitar twinkling away at the back of a row of copy guitars, I thought "OMG it's going to be a Zemaitis.. This is it, the big 2nd hand store find we dream about.." Sadly it wasn't, but I was sufficiently intrigued to buy it anyway. Never regretted the decision, and now it's a regular in my performing guitars. People are abusive and complimentary about it in equal measures.
  6. At the risk of upsetting other members - bumped one last time for deflepfan, who was particularly uiniterested in the finish.
  7. I have a pair of them in a PRS SE Soapbar II. I thought the stock pickups were good, but the guitar jumped to another level with the Seymour Duncans. Like all SDs I've heard or owned, the word 'open' is the one you keep coming back to. They have huge clarity but don't sound laser like hi fi. They are broad, you could say fat, but some have great detail in the sound. With all due respect to Gibson, I'm sure their pickups are good solid stuff. But Seymour Duncan only makes pickups he doesn't have to be a jack of all trades. I wish I'd been able to get mine for $50 a piece - I won't tell you what I paid, but here in the UK we end up paying parity dollar for pound, after tax, import costs etc. The actual exchange rate which should be in our favour just doesn't apply on American products. I have fitted Seymour Duncan pickups on several of my guitars - single coils, humbuckers as well as the P90s, and never regretted a single one of them. I say you can buy with confidence, so go for it.
  8. Amen Brother.. I almost wish it were for these reasons carverman. Maybe it is. At least that would say something positive about the human condition and our aspirational nature. I could even sympathise with some sort of naive view that touching a great instrument' date=' maybe once owned by a great player, will somehow impart it's magic to the owner and make them a great player. There would be some sort pretence of nobility in it at least.. But I think no. It's because it's rare. Because it has become a tradeable commodity removed from the purview of a musician that could make the most of it, and placed in the hands of the accountants and investment opportunists who will do everything to hype up it's mystique. In reality, a '59 Les Paul is likely to be a heavily worn assemblage of parts, like a Stradavarius Violin or Marcelino Lopez concert Classical Guitar. In almost every measurable way, a modern Gibson Custom Shop built Les Paul will be a better instrument than a clapped out '59. But you can buy them anywhere.. I agree that ownership would be a nightmare. And heaven knows you could never play it for fear of damage or theft. So make that a humidity controlled safety vault. That guitar would become a freak show - a Spinal Tap[i']ish[/i] Nigel Tufnelesque joke: "don't touch it.. no I mean it. Don't even look at it.." Viewed that way, a '59 becomes a complete contradiction. A completely unusable musical instrument. And that fails the first and most basic test of practicality. All this makes a '59 worth absolutely nothing.. or $1,000,000.
  9. I read a lot of truth in these comments. When the manafacturer's in the Far East finally got good at making mass produced instruments, the game was up really for 2nd hand sales. For what it's worth, I've never yet bought a guitar with the thought of future re-sale in mind. It's just not part of my criteria when I'm handing over the debit card to a store owner. Rarity is the key - that's why a 1959 Les Paul in even poor order (but still original) will cost you as much as a really good house..
  10. Good call. If you must have humbuckers rather than single coil p90s, then the TV Jones Classics are superb vintage sounding pickups. They're slightly less heavy in the mids as I'm sure you've discovered. I put a pair into a Gretsch Elctromatic Pro Jet (basically a budget Gretsch) and it was a huge improvement.
  11. Why not have a look at the Gibson Firebird Studio? (I think there's an Epi equivalent as well). Admittedly more generic than the quirky original through neck Firebird and with full range humbuckers rather than the mini buckers, but still a fabulous looking guitar and it still has THAT logo on the upper bout. I played one and it was a beaut. Quite a bit cheaper too. Beware if you've never played a 'bird before. They're like SGs - headstock heavy and with what feels like impossibly long necks. You do adjust, but for a while you'll be be 2 frets out!
  12. Here it is: and another: Hope the pics are good enough to properly demonstrate the finish. They are big 2meg images if you want to click on them. Unfortunately the camera flash implies brown colour on the hardware. In reality this is of course chrome/nickel plate. As stated earlier the pickups on the guitar are now a pair of Seymour Duncans (JB & Seth Lover), but I have retained the original engraved Epiphone p/ups in case I ever want to put the guitar back into stock condition. In reality the Seymour Duncans are streets ahead of the Epiphone originals. I haven't bothered to photograph them, but they share the '3 parallel wing lines and E' logo on the headstock.
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