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hi13ts

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About hi13ts

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  1. 1+ on this. Although locking tuners may be a contributor to the larger picture of tuning stability, it is certainly not the focal point. As what everyone else is saying, I suggest getting the nut worked on and eliminate any points of friction (nut slots and bridge saddles). It really should be pretty simple, quick, and relatively cheap. I also like using Big Bends Nut Sauce for extra lubrication, so you might find that useful. Also, be sure the strings are stretched thoroughly.
  2. Didn’t think to do this earlier, but I called up tech support at Floyd Rose and described the issue. The cause is simple enough. The saddles on the Floyd are not individually adjustable for action as they are on a Strat, as the action is adjusted by moving the entire plate on the two posts. Because my action on the high E is a hair lower than the low E side, the plate is not sitting perfectly level, thus not returning to perfect pitch. I was advised to level the plate and shim the individual saddles for action preference if the tuning problem becomes noticeable, and I certainly can work that out, but as I mentioned, it’s a very marginal issue, so I think I’ll leave as is for now. Perhaps the next restring will find me experimenting a bit with that.
  3. Thanks for the response. I apologize, I should have been clearer. The Floyd Rose is coming back a bit flat after diving, the Strat is rock solid. I used the Strat as the point of comparison. I made sure to equalize spring and string tension during setup with the Floyd, so I'm thinking perhaps it’s just the variation in the strength of the springs that is not returning it to perfect tension after usagw. I realize there are a lot of other little variables that could contribute to this, but this theory seems to hold water for me for now. I can certainly try new springs in the future and see what it yields.
  4. Hi all, I just want to share that I recently picked up a Les Paul Custom Axcess with Floyd from Dave's Guitar in Wisconsin. I was contemplating picking up a black Les Paul Custom during Christmas sales, but was recently seduced by the Floyd Rose after being reintroduced to Motley Crue after watching that movie. So I figured I'll wait to find a Traditional II w/Floyd on the used market or wait until holiday season to score a Les Paul Custom, whichever pops up first. Then by the grace of God, I stumbled onto this guitar the day it was posted on Dave's website. The price was right and within a week, I had it in my hands. Overall, the guitar is a champ. The super hot pickup combo of 496R/498T was worrying at first, but I find out they clean up well, especially with the coil taps on the tone knobs, but when I need it, I have that extra gas and sustain with them. I had no problem adjusting to the thinner body and the neck carve really is helpful. I've had guitars with richlite boards before, so I knew what to expect. No complaints there, they do what ebony would. I've played two full gigs with it and it's been extremely versatile and dependable. I have my Strat trem floating, so the restring/setup with the Floyd really wasn't a problem. Although it stays in tune better than most of my tremolo equipped guitars, I do find that it goes slightly flat after diving. Pulling up on the trem puts it back to pitch though. I'm not sure why that happens as my vintage Strat trem never had a problem even with gratuitous diving and abuse. String and spring tension are equal, the strings are locked tight on both ends, and I've greased it a bit on all points of friction, including the knife edges. It really isn't a problem as it isn't noticeable by ear, definitely not at all in a live setting. Only when I check with a tuner do I see that it strayed a bit flat, mostly on the G string. Once again, a quick pull up rectifies the problem. I am using 10 - 46 strings. I'm hypothesizing that perhaps the stock springs I have (three of them) may be a hair weaker, so there may be some variation on them pulling back up to tension after a dive. I haven't tried new springs yet, but that may be a consideration for the future. As I said, though, this is such a marginal problem with no immediate discernible effects that I haven't thought too much of it, but I'd still appreciate any experience/feedback you may have on this. Pic: https://photos.app.goo.gl/Bwiw7NpBMdV1zSCg6
  5. hi13ts

    Mislabled BB1&2?

    Thanks for all your input. Indeed it wasn't. Given the readings and the look of the pickups, it's most probable that they were the 490R/498T combination, as many of you mentioned. Not terrible, but nowhere near Burstbuckers. I also paid Burstbucker price, so I'm looking to get my money's worth. I suspect the seller was confused, possibly was given bad info and passed it on. Fortunately, it got resolved. I sent it back and am awaiting the refund to be processed. I went to my local shop and was able to find a Burstbucker 1 and 3. No BB2's, but was able to get a slight discount for both if I was willing to try to the 3. I put it on my 335 and it's definitely closer to what I was wanting. The stock MHS were... strange. They were, at least to my ears, kinda dull. Very weak pickups, as per vintage specs, but it was very difficult to coax out a satisfactory sound from them. The Burstbuckers retain that vintage pluck and airiness, but it's definitely hairier and easier to drive. There's a spank and presence to it that I couldn't get from the MHS. I'll continue to evaluate it as I get more opportunities to play it in a live setting. Lesson learned. Be more observant and wary of online purchases..
  6. hi13ts

    Mislabled BB1&2?

    Hi gnappi, so does your BB have the Gibson USA stamped on it? It can't be reading as high as 13k, right?
  7. Hi friends, I apologize if I'm not posting in the proper area of the forum, but I know this area gets read often and I'm in a bit of a time table. I recently bought what was advertised as a set of BB1&2 from Reverb: https://reverb.com/item/20087091-gibson-burstbucker-1-and-2-pickup-set. I just received them today and upon closer inspection, I don't believe they are actually BB 1 and 2s. Firstly, I should've been more leery of the Gibson USA decal stamped on the back. The vintage reissues (such as the Burstbuckers) should have the "Patent Applied For" sticker. I chalked it up to inconsistencies in years. However, when I measured the resistance for the BB2, it was an astronomical 13k, which is 500T/Dirty Fingers territory. The BB1 read 7.7, which is expected, I guess. Also, they seemed to have been wax potted, and BB1 and 2s, as I understand, are not. I've contacted the seller with my concerns and am currently awaiting an answer. I asked him something earlier to which he replied partially on, so I'm afraid things may get a little hairy. I wanted your opinions on this. Perhaps some of you own a set of BB1&2s from the 90s or so that might be able to confirm these inconsistencies? Please let me know. Thanks!
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  9. You're absolutely right, kaicho, I was mistaken. I ended up drilling two holes near the strap pin, one with a broken drill bit forever stuck in there, and the other reaching into the inner cavity to route the ground wire out. It is finally a success and the trapeze masks the holes. The question now is how do I cover up the stop bar holes? I was thinking of finding wood veneer stickers finished in cherry or red, but am having a hard time finding it. I realize that finding the exact matching shade of red may be impossible, but I haven't been able to find wood stickers that come close. I am currently resorting to using red label dots. I had some black soot (it's not soot, I'm think it's some sort of colored fairy or chalk dust. It came with an album as an artistic component) that I rubbed on it and it's fades okay. Not great, but will work for now. Has anyone worked on filling those stop bar holes?
  10. Hi friends, Just installed a trapeze tailpiece on my ES 333. Been a fan of that look since saw Trent Reznor play the 2013 Studios on tour that year (I know, unlikely player to think of when it comes to 335s). Thought the juxtaposition of his digital onslaught with the inherent vintage vibe of a 335 with a trapeze was the coolest thing. To my surprise, it plays and sounds great with the trapeze. Tuning is actually very stable, not much different than with the stop tail. I was certain that the floating trapeze would impact my tone, sustain, and tuning, but so far, it's been excellent all around. The last thing I have left is to relocate the ground wire from the stop bar studs to the ABR-1. I tried pulling the ground wire out of the maple block but it's not moving. I'm not very familiar with how to ground the guitar, but I see that wire is soldered onto the neck volume pot. My question is if it's possible to attach another a new wire to the neck volume pot and route it up to the ABR-1 instead of trying to finagle the existing wire out of the center block. I think this would be the easiest way. If so, should I look for a particular wire size? Please let me know what you think. Thanks in advance.
  11. My question is that since all of my guitars are wired the same and the specs are consistent, why would the Les Paul react so differently compared to the other guitars. The pickups are all PAF-inspired so it's comparable, but the the swell is different. Derald touched on a good point in that pots, even with similar values, can be different. I can see that being the differentiator given that my other Gibsons have CTS pots (actually, I don't know what's inside the 335 for sure, but regardless, it reacts similarly to my other Gibsons. Only the Les Paul is reacting differently and that's the difference I'm trying to find).
  12. Hi friends, let me preface by saying that my observations of an audio taper pot vs linear taper pot is that audio tapers have a smoother roll to full volume, with no sudden volume jumps, while a linear taper pot hits to almost full volume around 5 or 6 and then increases just a bit when you roll up to 10. Whether or not this is true or at least, consistently true, I'm not certain, but working from that knowledge, I noticed something at a recent gig. All my Gibsons are wired 50s style with either Orange Drops or PIOs with 500k audio taper pots. My SG and 333 were upgraded with CTS pots after purchase. My new 335, I can only assume, is a 500k audio taper pot with Orange drops. I cannot look at it to verify as it obviously does not have a backplate. My Les Paul, however, came with stock pots that says Gibson. According to Gibson's site, they are 500k audio taper pots. When I was playing a gig, I had two sets and brought both the 335 and the Les Paul. I utilize my volume knob constantly to roll off and clean up my tone. I played the 335 first and had to roll down my volume knob to about 4 or 5 to get a cleaner tone. Being used to that, I played the second set with my Les Paul and did the same, but I noticed that the gain was significantly less and to match the volume level of the 335 at 4 or 5, I had to have the Les Paul's knob about 7 or 8. With everything being the same, why is there such a significant difference between those guitars? I went home and tested all my Gibsons and they all react the same as my 335; only the Les Paul has significantly lesser gain. Are the pots that come in the 2016 LPs not CTS? They certainly react differently. Obviously, this is not really a problem, it's just something I'd adapt to, but I'm just curious as I thought the Gibson pots are indeed CTS pots with the Gibson logo stamped on.
  13. Thank you, Lars. It was not my intention for my initial post to be negative. I was more or less detailing what I found and the work I did to it as opposed to blindly saying "I got a new guitar and it's so good" off of the high that one normally gets when buying a new guitar. As per what you've been saying, if I were truly unhappy with it, I think I would've had the hunch to send it back within the first few days. I think I've gotten to a point where I can feel whether or a guitar or amp is not jiving with me pretty quickly. That unfortunately happened recently with the new Origins from Marshall, but that's another story for another forum. I did, however, stick around with a '78 Custom that I was wholly unhappy with for about two years, so maybe I'm not so keen after all. Blessed to be having these discussions at all. The fact that we have the opportunity to choose to own these instruments is pretty amazing.
  14. I agree. I'm sure my tech could patch it up real easily, but cosmetic flaws or imperfections don't bother me much. My Les Paul was in a similar situation as your Lucille was. It was a year-old model that was hanging on the hook of the guitar shop for a long time. The black plastic bonded to the headstock and is something that can't be easily wiped off. However, it's sort of become a part of the guitar for me. That being said, I'm a proponent of the whole relic thing, so contrary to what's sensible, I kind of like dings and scratches (as long as it's not threatening the structural integrity of the instrument). I understand why other people would want a more pristine look, though, especially if they're buying high dollar items like Gibson guitars.
  15. The local store is certainly aware of those cracks on the binding, as it was shipped to the store. They, of course, reminded me of the 45 day return period if I decide that it's too much to deal with. I realize it wasn't on them, but rather the Dallas store was not as forthcoming as they should have been to both of us. In regards to demanding more of a discount, I have full faith that the guys who were helping me exhausted their authority, as it was a discount on a used item compounded with this financing special they have going on. Even if there was a slight chance that if I caused enough trouble and raised enough hell, a general manager would be called to possibly give me more of discount, that amount would most certainly not be worth the time and trouble, especially for something that is cosmetic and not structurally dangerous. Now, in regards to it being perfect. I have seldom played a guitar that I would consider perfect. Actually, I don't think I ever played one that was through and through perfect, even the higher-end and vintage ones. I'm completely indifferent about cosmetic blemishes, so when I say this, I speak more on playability, sound, and structure. It seems to me that perhaps some players buy guitars with a mentality of buying something like a computer or TV. There's an expectation of consistent delivery and perfect presentation. A guitar, however, given the fact that it's made out of a temperamental material and that the ones we talk about here have some hand work involved, shouldn't be held to that same mentality. The closest I can liken it to is buying a car. Obviously there's an expectation of standard of performance and structural integrity that is attached to the make and model, but it requires maintenance and tweaking to get to an ideal level. Every guitar I own has something about it that makes it near impossible for me to sell or trade-in. It definitely did not start out perfect, and perhaps objectively, it still isn't perfect. I do a lot of work on my guitars and they have all come to a place where it's definitely part of my team, each with their own idiosyncrasies. The more time I have a guitar, the more I learn about its nuances and the more I adapt to its personality, and I get the feeling that it adapts to mine. I know it sounds absurd given that it's an inanimate object, but every guitar has a personality or character. So far, after its inaugural gig, I can say that this 335 is one of the best sounding guitars I've owned. It's extremely responsive and nuanced. Playability-wise, I'm still learning and adapting with it. Some of my guitars like heavier gauge strings, some lighter. I might try something like that next time I change the strings. Perhaps set the action a little differently, lower the tension bar, etc. My point is that each guitar is different and reacts differently to what you put on it and what you do to it. I can't imagine returning it just because it's not "perfect" in the way that it doesn't play like my others or that there's a cosmetic blemish.
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