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Dave

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About Dave

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  • Birthday 03/06/1951

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  1. Is the tuner fitting flush on the bottom of the headstock? There shouldn't be an alignment stud that needs to fit in a hole on the bottom. You say that the threaded post is too short by 2-3mm? This all really doesn't make sense if all the parts are fitted identical to the rest of the tuners and the tuner itself is lying flush on the bottom of the headstock. A trip to the music store may be in order. They change tuners all the time if they have a tech in-store.
  2. Muting the strings between songs is a natural thing for me and when I play my G-400 it keeps the neck off the floor. We all will forget at some point and it helps to have carpet on stage (not our call, though). That reminds me, I need to order a couple more sets of strap locks. I use the same leather strap on all three of my LP's but the length has to be changed for the G-400, so I just use the plastic twist locks for now. You have to check them religiously or they loosen.
  3. Dave

    Epiphone

    My G-400 with the push pull single/dual coil switch is every bit as good as my old early 70s Gibson SG. It's been a few years since the Gibby but I have no complaints. I'm a big fan of the Epiphone line. Chinese manufacturing has taken quite a few steps forward through the years.
  4. Dave

    Epiphone

    I played a 79 Strat through the late 70s and all through the 80s. In 1993, my wife bought me a Gibson Les Paul Studio in Wine Red with gold hardware. I thought it was cool, but still preferred the Strat. I started playing the Les Paul more and more and began to get some familiar tones out of it and became hooked on the growl. About 7 years ago I started itching for a custom flametop LP. I went to Guitar Center and played every flametop they had. I came home with an EPI LP. After playing it for a while, I decided that it needed pickups. I checked around for a while and listened to all the sound samples and decided Seymour Duncan Pearly Gates was the ticket. Now, 7 years later it's my go to guitar. Everybody who hears it walks up to talk to me and does a double take when they see the Epiphone logo on the headstock. They can't believe the sounds they heard could come from a lowly Epiphone! I still play the Gibby Studio here and there. I played a Gibson SG through the earlier part of the 70s and my Epi SG ranks right up there with the Angus axe, IMO. All the sounds are there.
  5. Having old ears from too many nights in front of a 4x12 cab, I like a little brightness in my strings. Ernie Ball Regular Slinkies (10-46) are my pick. If you like less brilliance use nickel strings instead of stainless steel. You might like DR Pure Blues. Those are supposed to be the favorite strings of Derrick Trucks. He has some nice tones on stage. http://www.zzounds.com/item--DRSPHBL
  6. My take on sustain is that every ounce of wood contributes to increased sustain and a woodier tone. A lighter guitar has reduced mass. It's usually the neck angle that changes sustain. Higher angles = increased sustain from the pressure on the nut. I like the wood tones to be reflected in my output, which is why I generally lower my pickups and crank the amp a little higher. When the wood absorbs the tone, it returns into the strings as it resonates through the body. Heavier guitars sound better to me. I wouldn't remove one ounce of wood from my guitar, FWIW.
  7. That pickguard is the batwing pickguard that now comes on the G-400 Pro today. It's a pickguard design from the 60s and early 70s that better protects the guitar from pick scratches. The other pickguard style just covers the area below the strings and doesn't extend under the strings and above. The Angus Young model has a batwing pickguard. Nice axe!
  8. I've had my eye on the G-400 Pro for a while now. I owned a Gibson SG in the 70s and traded it because it lacked sustain. It was one of the SG's referred to as a "thinline". It had curved bevel cuts front and back and a much thinner body than the standard SG that probably contributed to lower sustain. I bought a Fender USA Natural Ash Strat and loved it for years. It's still a great guitar, but I fell in love with the Les Paul tone in the mid 90s and now own a Gibson Les Paul Studio, Epi LP custom flametop, an Epi '56 reissue Goldtop, and now the G-400 Pro that came in this week. My wife kept asking me what I wanted for my birthday and I couldn't think of anything. Musicians Friend sent me an email saying, "We haven't heard from you in a while. Hope it wasn't something we did or said. Here's a 20% off coupon for anything on our site over $49." The gears started turning and I ordered a G-400 Pro for $279 after the discount! It's been a busy week and I've not played it enough to do anything but a little setup work for the action. I lowered it slightly and plugged it into my practice amp (Roland Cube 60) for a while. I think it's gonna rock on stage once I get a chance to play with pickup height. I was impressed with the craftsmanship. The finish is a nice clear cherry that shows the wood grain nicely. Intonation was dead on using my Seiko needle type tuner, and all the hardware looks great in polished nickel.
  9. Leather is the answer for an SG or G400. Nylon will put the headstock on the floor at the most inopportune time. Straplocks are good for preventing wear on the strap holes, too. There's never a good excuse for lack of preparation when the headstock hits the floor and snaps off! ... unhappy guitar day ...
  10. My Epi 1956 Goldtop Re-issue sounds really good through my Peavey Vypyr Tube 60, especially after swapping out the 6L6's with Tung Sol KT66's. A good modeling amp is a good start toward being able to approximate the sounds you are looking for. There are purists who would disagree, but a little experimentation with various models opens up a lot of territory for getting the "right" sound. Most people are looking for the sound of their favorite player. It's hard to achieve that if you are using an amp that is worlds away from what "that guy" uses. I have settings saved for my 79 Strat, the 56 Goldtop, my Epi Les Paul Custom Flametop, and my G400. It's just too easy to change banks and get there in a second without readjusting everything to taste. In most cases, I use the Plexi model for overdriven solo tones, the Twin model for cleans, and the Badkat model for a chorus and flanged tones. The amp changes personality with each. It's a different world when the amp is flexible. The right amp gives you options for different pickups, body compositions, and for your own playing style. That said, if your pickups are muddy you won't hear the best tonal satisfaction from any amp. I prefer lowered pickups and increased gain. That gives me more wood tone and character from any guitar, as opposed to pickups that are raised for volume. If you have to raise the pickups close to the strings to get volume, you also run the risk of tinny tone with little wood of the guitar mixed in.
  11. Nice blue G-400 Pro! I owned a Wine Red Gibson SG back in the late 70s. It was a beautiful guitar. Mine was a thin line model and sustain was almost non-existent. The body on mine was only about an inch thick and that was probably the reason for lack of sustain. I traded it in on an Ash Blonde USA Strat (still have it) and always wished I had the SG back. The SG and G-400 are known for long sustain these days. I have yet to find anything about a thin line SG around 1978. Most SG bodies are thicker and meatier. A couple of days ago I got a 20% off coupon in email from Musicians Friend. Since my birthday is this week and my wife had been asking me what I wanted, I told her I wanted a Cherry G-400 Pro! I ordered it and it's in the hands of UPS as we speak. I'll be watching for a Brown truck to pull up in a couple of days. Most reports on the G-400 Pro are really positive. The slim taper D neck with a 12" radius should play just like my Epi LP Custom Flame Top so the transition should be sweet. I love the way the Epi LP feels. It just runs out of fret room past the 15th fret. I'm looking forward to dual cutaway again.
  12. Maybe he just needed to play more and turn those blisters into callouses.
  13. Got anymore of those Epiphone logos? That woodpecker one would make a good t-shirt iron on.
  14. Schallers are my favorite. The old screws are necessary and I usually insert a toothpick coated with wood glue into the hole and break it off even with the edge of the hole before I insert the screw. Otherwise, the screw will eventually loosen.
  15. I adjust the pickups on my LP custom flametop to balance the high output of the bridge pup with the neck pup. I usually end up with the neck pickup almost flush with the pickup surround and then adjust the bridge pickup to match the volume with the neck. I have SD Pearlies in my Epi, but the adjustment comes out close to the same with stock Epi humbuckers. Sustain is a function of strings, bridge, stop bar, and nut, as well as the string height. Too low and you get buzz and short note tails. You should set the truss bar for flat frets or up to .010 relief and set string height to somewhere above the buzz point. I don't measure my action. I adjust it so that a bend puts the next highest string into my finger so that I don't lose it or go under it. I usually end up with an action that is close to standard, maybe a hair lower. Feel is my measuring tool. Both my Epis have had home fret dressings done. I like the magic marker method. Every mounting nut and screw on your guitar should be snug to stop sympathetic vibrations and noise. The top nut, IMO, should have a dot of glue under it so it doesn't move and has good acoustic connection. Some bridge mounting posts are sloppy, especially if you buy an aftermarket bridge. I had to use the original ones with my Gotoh bridge. I use the standard stop bar. Some like aluminum.
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