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About hi13ts

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  1. Was finally able to get a quick sound demo down on Halloween. Very dynamic and responsive guitar. There’s a certain brightness, very slight scoop in the mids with this guitar. A lot of power on tap. Certain lighting really brings out the stunning quilt top, but this video doesn’t do it justice.
  2. I think I've finally reached the end of this origin journey. The merchant was able to have his Gibson rep track down several guitars with the serial number. Using the product description and notes of the guitar that seemed to match mine the best in regards to date and specs, I called up Gibson again and fortunately got a hold of someone who was knowledgeable and invested in digging into this with me. According to him, he pulled up this serial number specific to 1997 and found two guitars that match it (which we both thought was weird, but the list the merchant sent me indeed showed two guitars that year with this s/n). They were both listed as CST 58, one in heritage cherry sunburst and one in lemonburst. Mine is indeed the one in lemonburst. Before he concluded it was an R8, he did say the product description on the invoice stated that it was indeed a one-off custom order made by Guitar Resurrection in Austin, TX. So we concluded that this was a special order based on the build and concept of an R8. Quite an intriguing conclusion! Truly, though, regardless of what this was, R7, R8 or Custom Standard, it's a hell of a guitar and I'm grateful to have been the recipient of such a great deal. As I mentioned on my first post, it so far feels like the ultimate LP Standard I've been yearning for since i played that R8 in 2013. I'm very much looking forward to the future playing this guitar. Hopefully we'll be in a better place in 2021 and that it will offer me plenty of opportunities to test this guitar's mettle. Thanks to all for the compliments.
  3. Hi friends, I recently found what was described as a 1997 R7 from the Manchester Music Mill in NH. On their description, they stated that the idea of this guitar was that it was an R7 that was a Goldtop that somebody stripped and found beautiful quilted patterns underneath and refinished in Lemonburst. I was taken aback at how gorgeous that quilt top was and it was truly at a great price for a custom shop reissue. When I received it, I checked the control cavity and found a handwritten "58" in it. This leads me to believe that perhaps this was actually an R8, however, from my limited understanding of Gibson serial numbers, it indicates that it's indeed an R7. Would anyone be able to help me confirm? Serial number is on the photos. Also, anyone knowledgeable about the reissues in 1997, will you also please provide me the specs that came stock on this guitar? The pickups sound very much like 57 Classics. Throaty, powerful, and warm. I'm trying to decipher what nut material it uses. It doesn't look like corian to me, more like bone, but it's quite white, whiter than most bone nuts I've come across. It's indeed the stock nut as there's still lacquer over. It's so far been an incredible guitar, the ultimate Standard I've been looking for. Back in 2013, a local music shop near me had an R8 on sale. I was in college at the time and didn't have the funds to get it and I just remembered it was one of the sweetest guitars I've played and heard. I'm happy to say this one sincerely fits the bill and makes up for that lost love. I played it recently at a gig and it was easy to play and its tone was massive. 2020 has been overall a pretty crap year, but I've been blessed to be employed and to have stumbled across great deals on two Les Pauls so far. Little diamonds in the s pile of a year. Photos: https://photos.app.goo.gl/Wgkh67EkqFBFYNCM8 Thanks for looking and thanks in advance for the info.
  4. Hi all, I wanted to share that I recently acquired a used 2014 LP Trad with Floyd Rose right before the covid-19 restrictions. What good timing to be in quarantine. I've become a fan of the Floyd Rose system after acquiring my Axcess Custom last year. I do like whammy bars when I have them and I do pretty well at having them stay in tune the majority of the time, even the sideways trem on my SG. However, I've found out that no matter how you set up any conventional trem system, they will never get the same stability and wildness that a Floyd Rose will get. The tuning stability and sustain are inimitable and I've found that it's probably the most stable (and fun) guitar I can bring to a show. As much as I love the Custom Axcess, a lot of the bands I play in would benefit from the warmth and depth of a full-bodied Les Paul Standard. Queue in the arrival of this new guitar. It has all of the warm and thick properties that my '16 Traditional has, but with the addition of the Floyd Rose. I truly can't think of a better combo. I've been enjoying playing, listening, and looking at it. It's the Desertburst finish, but it has quite a bit more red in it than what I normally see on Desertbursts, enough where I'd say it's creeping towards Triburst or Fireburst territory. I've replaced the creme plastics with black and the knobs to 60's top hats, to correspond with the slim 60's neck. The previous owner, Jerry's Guitar, who I can't speak highly enough of in regards to customer service and speed of shipping, replaced the Super 57 bridge with a 498T. I respect his decision, but I do not share in his opinion. I quickly replaced that with a 4-wire Seymour Duncan 59, which to me, sounds like a rougher 57 Classic Plus. Gibson recessed the Floyd system more than I thought would be ideal, so the neck angle is quite straight; closer to an SG than a Les Paul. That does change the feel a bit, but is not necessarily detrimental. Overall, it has been incredibly easy to play and coax great tones from. I used it for a tech rehearsal for the musical I was a part of before the virus cancellations and it held it up to what I expected. I'm very much looking forward to the end of this virus situation in order to play this live (which I hope is soon). I've included some pics and video of me playing an old Scorpions classic: https://photos.app.goo.gl/8iQr8bqUznPK4kX76 https://photos.app.goo.gl/waH3xXKG4DU3JvV49 https://photos.app.goo.gl/dUBs84MYHr6cu7L9A https://www.youtube.com/watch?v=2eTUZzaXUtY Thanks for reading and indulging.
  5. I stumbled on some used for sale and am intrigued by its sonic capabilities and the fact that it’s constructed in the Custom Shop. From photos it looks very much like a Standard off the line. Let me ask for those who’ve tried it. Is the construction comparable to say an R8 or R9 with non weight relieved bodies, one piece back, etc? Is it basically a modern reissue? They seem to be going for a bit less than most of the reissues. If it is indeed constructed very similarly to the reissues, this could be a good alternative for price and features, but still having a custom shop built guitar. What do you think?
  6. 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.
  7. 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.
  8. 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.
  9. 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
  10. 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..
  11. 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?
  12. 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!
  13. Hi

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  14. 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?
  15. 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.
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