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stevet

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  1. Yeah, that makes sense. It was just that the switch in my Gibson looked exactly like the picture you posted of the Epiphone switch. And now I can't remember why I glued the original one together. I thought the frame came apart, but it has screws through it, so that shouldn't have happened. Oh well. As a side note, does anyone know what the long version of this switchcraft switch fits?
  2. thanks guys. That does appear what happened, I got the long shaft switch and needed the short shaft one. But the more curious thing is why it has a no name switch in it and not a switchcraft to begin with. It's not an Epiphone, it's a real Gibson.
  3. Interesting, I've never seen or heard of one of these. But it looks like that's what it is.
  4. I was watching TV a few days ago and they had a band playing live on a local news show. The leader was playing a Gibson guitar I did not recognize. it did not have a soundhole, but small grilled opening in the op of the upper bout. It was also a thinline acoustic. I've attached a picture.
  5. Here's a picture of the switches. The shorter one is the original in my LP Studio.
  6. I have a Les Paul Studio from 1990. Some time back the pickup switch started falling apart, and I applied superglue, which seemed to work. So a while back I bought a new switch, and today tried to install it. But it seems there are at least two different switches used. Mine is shorter, and only has 4 wires (1 on one end, three on the other). The one I bought has room for 5 wires 2 on one end and three on the other. AND, it's too long to fit in the guitar. So, are there different switches used on the LP models, and I need to specify which one when ordering? Or did I just plain get the wrong switch? I don't remember where I bought it, probably someone like allparts online. It is a switchcraft switch. Steve
  7. Bence, what would the graphics design people do to recover the headstock? I'd really like it recovered, but not for $300. IF you look closely at the headstock photo, you'll see the outline is still there, and I can sort of see it and I can feel it. It appears like it might be a decal. Is it possible they paint the headstock, then put down the decal, then lacquer over it with clear laquer? That might explain the cost, having to refinish the headstock and all.
  8. And I really haven't polished it more than twice in the 24 years I've had it! So I'm still puzzled why it faded. It wasn't in the sun, hasn't been abused, and really hasn't been polished or even dusted off too much. I'm mostly an acoustic guitar player, and I'll be in 24 years It's been played maybe 30 times. It just mostly sat in it's case, in a closet in a climate controlled-house, and faded away! I thought maybe Gibson would just fix it, since it's obviously some sort of defect. But they say it's about $300 to fix, so I guess it'll stay as it is! Thanks all for helping me out with this. Steve
  9. And from all the pictures does it look for sure it's a real Gibson Les Paul Studio? From everything I've read it looks real. But with the headstock faded that doesn't look like gibson quality. It's not lemon oil. I've only cleaned it with Gibson guitar polish. And I don't clean it all that often. For the last few years it's been in the house in a closet in it's case.
  10. I have a 1990 Les Paul Studio in Wine Red. Pretty quickly after I bought it, I noticed the headstock lettering ("Les Paul" in script, then "Model" in block) was fading. It started gold, and now it's merely an outline you can see in a bright light, but it's all faded to black. I'm pretty sure it's a real Gibson. Serial number is valid format, and the logo looked good when I got it. Also the truss rod cover is 2-screw. Any thoughts on why the logo faded? Is this common? What can I do about it? People that see it think my guitar is a fake, and I don't like that. I have 3 real American Gibsons (ES-335, Songwriter, Les Paul Studio) and I like to "brag" about that a bit! Here are a few pictures: Steve
  11. I'll add my experience here. And for the record, my guitar that I dearly love and feel great attachment, is NOT the same as either the girl I took home to mom OR the ones I met in bars. They're GUITARS, and I love them, but GIRLS win hands down. Ok, I had been playing a lot, mostly acoustic. I had some electrics, and they were really good guitars (Gibson Les Paul, Fender American Strat Deluxe), but I never played them. My acoustic, that I played all the time, was a Samick. I like that little guitar, one of the few made by Samick that actually has the Samick name on it. Very well made, nice tree of life inlay on the neck, solid spruce top, rosewood back and sides, bound all around, gold hardware. But, It seemed if I was investing in top tier guitars, I should invest in a top tier acoustic, since that's what I play mostly. I was originally looking at Taylors. Played a lot of them all over. didn't find one that really got to me. So I also played Martins. Great guitars. But didn't find "the one". At that time, I thought of Gibsons as (1) great electrics, and (2) the old acoustics my grandfather played. Didn't even consider them. Then, one day in a music store, I asked a guy if I didn't want a Taylor or Martin, what else could he recommend that was at that level. He said Gibson. I said ok, and I tried a few. One was a Songwriter Deluxe cutaway. I really liked it. So over the next two months or so, I continued going to music stores all over the country and playing a lot of guitars (Gibsons, Taylors, Martins, Larivees, Breedloves, high end Takamines, etc. And in EVERY CASE, the ONE that got me was always a Songwriter Deluxe cutaway. I was very impressed with the consistency I found; I played at least 10 different examples of it, and that one was ALWAYS the one I liked best. So I bought one. I know everyone is different, but for me, when (1) I wasn't even considering Gibson initially, and (2) EVERY time I got one it was the one I liked best, tells me this is the one for me. Not knocking Taylor or Martin, but for me neither came close. Steve
  12. I don't have a problem. I don't have a problem. I'm NOT a guitaraholic. i'm NOT a guitaraholic. I don't have a problem...
  13. I have a Songwriter Deluxe EC (2006), and I really like it. I know about the storied history of the Gibson Acoustics, and the models we all know about (J-45s, J-200s, HB, etc.). But just where did the Songwriter come from? Is it a later incarnation of an older model, or something entirely new? And where does it fit in the lineup (is it bigger than a model xx, or just like a model y but with different bracing, or a shoulder profile like model aa, etc.)? Steve
  14. I have a Songwriter Deluxe with the Fishman Prefix Plus T electronics. It seemed to play fine. Then, last week, I took all the strings off and polished it thoroughly, conditioned the nfretboard, and applied new strings. And the bridge saddle did fall out, and i put it back in. it floats fine, no binding and no damage, and it looks level. But now, it plays the same acoustically. But thorugh the electronics, the 3 bass strings are virtually non-existant, and the G string is moderately soft. Only the two treble strings (B and E) sound a normal volume. If I turn it WAYY up, I can hear the bass strings being picked up, but then of course the treble strings are WAYYY out there. For reference, say on a 1-10 know, the bass strings are a 1 when the treble strings are a 6. The bridge looks level, and it's not binding. I think I got it in the right way too, but don't have a reference to go by other than memory (a tricky thing at best!). Any ideas what happened? And what I can do? I've had this guitar 4 years and no issues at all till this.
  15. I'm thinking of replacing the stock pickups in my Sheraton II with some better pickups. Any ideas? I know there are Gibson pickups, and there are a lot of third-party pickups. And is this even worth doing? I played a Gibson 335 and a new Sheraton II in the store a couple of weeks ago, and the 335 seemed to sound better. But my Sheration is a '97, so it may sound different from the new one? Steve
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