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hi13ts

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  1. Thanks for the replies. I received the Allparts version and it was indeed a marked improvement over the WD. Although the spring did not rest on the body like my 2013 SG Original did, it was pulled nearly parallel under spring tension, so no strings are touching the comb and the handle can swing freely around. I know there are some that dislike that or perhaps the vintage ones weren't like that, but the sonic and tuning improvements are incontestable for me. With the WD, there were strange metallic overtones and there would be endless "dead spots" when playing. The G string sounded hollow and sustain took a massive nosedive. The Allparts version, however, retained near the amount of sustain as the stop bar and added a bit of presence to the guitar. Notes actually ring out and everything sounds solid. More of a high mids sparkle and not as tight of a low end. It really does sound great. It stays in tune well enough too, at least enough for the bar to be used. I have to say that I've grown quite fond of the Firebird the past few weeks. It's surprisingly comfortable to play sitting down or standing up and is incredibly versatile. It does a Strat-ish thing very well while retaining the tonal depth and playability of a Gibson. I had a rehearsal the other day with it and it was a champ. So easy to play and control and it looked super cool as well. I didn't think I'd take to the ceramic pickups as well as I did, but it turned out to have character and nuance while having enough gas for heavier stuff. I'm actually getting quite enamored by it, thinking of it a lot! To the point of impulsive thoughts of selling my Strats and getting more Firebirds! I won't do that, though, but there's something to be said about the temptation. I'm so impressed by the Allparts vibrola that I'm thinking of getting a gold one for my SGS3. I put a Crazyparts vibrola on and it suffers from the same problem that the WD had, with the spring bent back so far that it touches the back of strings with the tonal and tuning detriments that come with it. I recorded a video of one the songs that made me want a Firebird in the first place:
  2. Hello everyone, I wanted to share that I was finally able to land a white Firebird after years and years of missed opportunities and patience. When I was in high school and learning guitar, the Firebird never caught my eye, thinking it to be too loud of a design (but not quite as much as an Explorer or Flying V). I thought it was much prettier than an Explorer and remember seeing David Hidalgo make good use of one in the first Crossroads Festival video. It wasn't until seeing Tim Skold use it in Manson's band did I realize how multi-faceted it was. Always thought it was a Stratty Gibson, not thinking it would go well with heavier stuff, but he made good use of it with his stack of SLPs. He played a searing white Firebird, similar to what David was playing. From then on I thought to myself that I needed to get one down the line. That was a good 15 or so years ago and I finally came across one that was in great shape and a good price. It's a 2013 (one of the better Gibson years in my opinion, right after the rosewood fiasco during 2011-2012), so it has the multi-level headstock decal, Steinberger tuners, and 300k linear volume pots. It actually sounded great stock, but I switched the pots to 500k audio pots and wired the caps 50s style and there's a new brilliance to it. The pickups are hot and searing, but articulate and with character. The Steinberger tuners are a curious design that works quite well and is very easy to use. I was surprised at how great and versatile it sounded. It truly covered all the ground I needed, even going towards heavy territory. Entirely different than a normal mahogany/humbucker sound; it's definitely it's own thing. Very happy with the acquisition after years of thinking of it. I'm a sucker for vintage aesthetics and that includes a long Maestro vibrola on a Firebird V. For a short while, I used a Duesenberg Les Trem II, which worked very well and sounded great; almost like the stock stop-bar. However, I really wanted the vibe of a vibrola, so I found an aftermarket version made by WD and installed it. It definitely looks the part and operates as expected, but it 100% was a detriment to the tone and sustain. Like night and day difference for the worse. I have a similar issue with my SGS3. It came with the sideways vibrola, but I got a Crazyparts Maestro for it, thinking it may give me the tonal focus I wanted. It did not. In fact, it sounded about the same as the sideways vibrola. I was thinking because the sideways vibrola is essentially a floating trapeze tailpiece, it affected the tone in an airy, bright sort of way. One that I'm not particularly fond of. I found that both this WD vibrola on the Firebird and the Crazyparts on the SG have a strong spring angle that tilts back and touches the back of the strings. Because of its angle the spring is actually not touching the body is essentially floating. I believe this responsible for the tonal difference. After some reading, I found that historically, the spring tension on these trems were not consistent and that many of them came that way. In fact, some people preferred it that way because they can swing the arm back and it touches the body or is much closer in order to fit in a case. I actually prefer the opposite, where the angle is parallel and pressed on top of the body. I found this out when I got the SG Original back in 2013. It was one of the first to come out of the factory so it was actually made in 2012. The first batch had the vibrola with that stiff bent back angle. I contacted Gibson about it because it was a nightmare to keep in tune and they actually admitted mistake and sent me a new vibrola. This one's bent steel was apparently weaker where under string tension, it pressed against the top of the body and laid completely parallel to it. The tuning stability and tone was significantly better. It took divebomb abuse like a champ and roared close to a Les Paul. It was no longer like a floating trapeze tailpiece. I had that guitar as my main one for a long time and truly regret selling it some days. I found out later that many of the SGs with Maestros in 2013-2014 had the same angle that I had and they all roared and took abuse well. I've seen that many aftermarket vibrolas have the stiffer spring angle that bends back and have yet to find one that was as good the one I had on my SG Original. I've read "complaints" of the Allparts version being parallel with the body so I found one on eBay and ordered. Currently awaiting its arrival. I'm concerned, however, that it will not match the angle I'm looking for. I've seen the new vibrolas coming on both Custom Shop and the production line SGs and they're parallel, but they're not pressed on the body. I believe that aspect is what makes the tonal difference I'm looking for. Does anyone know where I can procure a vibrola that has that spring angle? Which manufacturer did Gibson get it from? I guess I'll find out if the Allparts version meets my desires when I get it. I'll also contact Gibson and relay this question. Hopefully they can get me more specifics on their manufacturer or any options I may have. I appreciate you sticking through my ramble. Link to pics below: https://photos.app.goo.gl/49Tjr2tuvoUBKrUP6
  3. Hi all, I do apologize if posting this here is forbidden, but I don't Gibson has a classifieds area. I'm just trying to put as many feelers out there as possible for this as they're very hard to come by. My first electric guitar was given to me by my dad some 15 years ago or so. He gave me his 97 Gibson Nighthawk Special. It was a great guitar; not many people are blessed to have a Gibson as their first electric. As most guitar players do, however, I traded it for other things over the years and no longer have it. It's final incarnation is my '97 R8, so it definitely took me to good places. My dad's birthday is in March and I'm thinking it'd be real special treat to essentially "give it back" to him, but "with interest". He's a big 80's heavy metal guy and the Floyd would really fit the part. They're very hard to come by so I'm trying my best to get anywhere I can. If you have one that you might consider selling, or have a friend or acquaintance who might, please let me know. Thanks in advance!
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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?
  9. 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.
  10. 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.
  11. 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.
  12. 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
  13. 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..
  14. Hi gnappi, so does your BB have the Gibson USA stamped on it? It can't be reading as high as 13k, right?
  15. 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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