charlie brown
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Posts posted by charlie brown
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Just finished watching "Nowhere Boy," from "NetFlix." Really
enjoyed it, too. So, I'm now listening to some Beatles and
John Lennon's solo stuff. ;>)
CB
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I really don't like Gretsch guitar much. That's why I didn’t buy one. The over all aesthetic is just not for me but the biggest thing I didn't like about the Gretsch guitars I played was the neck. Like I said I'm not too big a Chet Atkins fan so the fact that his name is on a guitar isn't likely to sell me on it. I bought the Gibson mainly for the way it plays. It also sound wonderful and it looks cool.
I have to admit that I'm always a bit confused that by the fact that ever time I mention this guitar folks feel compelled to compare it to the dozen different Gretsch models that have Chets name on them. This guitar is like nothing Gretsch ever built.
IS there really no one on this forum with a Gibson Country Gent? They must be more rare than I thought.
Well, that's cool...but, to most guitarists, mention of a "Country Gentleman" guitar, is still associated with Gretsch! The Gibson's are nice guitars...I would never argue that...but a "Gent," is still a Gretsch, and always will be, since it was the original version...IMHO.
CB
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I think the bling factor is another one of the aspects of the Gretsch guitars I didn't care for. They seems a bit too cowboy pipm for me. Even Chet said he didn't like all the little "country" things that Gretsch kept trying to add to his guitar. He talks about that quite a bit in his book "Me and my guitars".
LOL...yeah, I've never cared for the "branded" guitars, or some of the funky inlays,
in the fingerboards, that some of the Gretsch models had/have. But, the Original
(single cutaway) and later (double cutaway)"Country Gents," weren't (really) "Cowboy'd"
up...IMHO. They were/are just nicely appointed, beautiful instruments. I could have
done without the mutes, too...but, they didn't/don't really "bother" me, in all honesty.
And, aside from those Mutes, they aren't any more "blingy" than an ES-345 or ES-355 Gibson.
So...??? Still..."whatever floats your boat," is cool! ;>)
CB
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Ok, so it's not all in my head. The Gretsch neck isn't as wide as the 1.75" Gibson. That's good to know.
When I bought this guitar I spent a lot of time trying out lot's of different instruments from lots of different makers. I knew I wanted either a hollow body or a simi hollow body. I tried lot's of Gretsch, Gibson, Ric and Guild guitars. There is still a Star Fire out there that I want and one day I will have a Ric 360/12 string. But one thing I learned was that I just don't like Gretsch guitars. They just didn't feel right to me and 99% of what I look for in a guitar is feel. The f not-holes on the Gretsch made it seem cheap. I also wasn't impressed with the string mutes and switches all over most of the guitars and I can't stand that brown and orange colors that they use. I'm not a fan of the FilterTron tone either. I have heard a lot of people make them sound fantastic but when you add all that together it's just not the guitar for me.
I didn't buy this one because of Chet. I'm actually not a huge Chet fan. He was a wonderful man and I have profound respect for him but his music isn't something I listen to much. But his guitar is just about perfect. It has massive sustain and a smooth even tone that I love. Running through a Cry Baby and a high gain amp it's just amazing.
Well, that's cool. We're all different. I love "that great Gretsch sound," as just another tonal variety. I have the "Gent," and my TSP Duo-jet, too. The Gibson Gent, would have had more appeal to me, if it had a bound neck. Something seems "missing" without that. (Smile) But, I know that's only cosmetic. Still, a Gent (to me) needs that extra bit of "bling!"
"Different strokes"....
CB
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The width of the neck on my Gretsch, at the nut, is 1 11/16" via my metal tape measure.
CB
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Yeah, I'm afraid I'm in the "Gretsch" camp, on Country Gent's.
1966 Country Gent...including original (and,crumbling) binding...which
I'm trying to find someone "reasonable" in price, to restore. "Reasonable"
seems to be the problem. (Smile)
As far as the Gibson version...Nice Guitar, no doubt! Although, I never could figure
out, why they didn't bind the neck, on that model. Was that at "Chet's" request??
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Thanks...
![[smile]](//content.invisioncic.com/p286412/emoticons/default_msp_smile.gif)
actually you're right... historical correct would be Goldtop.
This was a special run in 2007 named "Popular Demand Series"
see attached pics...
Cheers
PIT...
![[thumbup]](//content.invisioncic.com/p286412/emoticons/default_msp_thumbup.gif)
Yeah, I figured as much! It's a Great looking '56...even if not
(really) "Historically Correct." Who cares..as long as you love it!
Cheers,
CB
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But...weren't '56 Les Pauls (aside from the Juniors, & Specials),
all "Gold-Tops," or Black (Tuxedo) Customs???
CB
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Looks Great! Some of the earliest (real '50's)"Gold Tops" had body binding, but no neck binding.
In that vain, I've been thinking of making the "faux" binding, on my '50's Tribute Gold Top, more
pronounced (lighter)...IF, I end up keeping it, that is. ??? Your results, are encouraging, in
that way.
CB
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OK, I'll play:
Faded LP Special
1966 Epiphone Casino (refinished, in 1980)
P-90's are Awesome! (Whoops, there's that "A" word, again.) ;>)
CB
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Don't forget to check your lead (cord). They (can) often go "bad."
Does the input jack, make noise, when you wobble the cord, at the
input plug end.
Does the selector switch, crackle or cut-out, at times, when you
switch positions? Do your pots crackle or cut-out, too? Check for
loose connections, both at the input jack, or in the wiring, inside the
back cover. In the case of the input jack, it "might" be, just a matter
of bending (in) the prong, for a more secure fit? Does it do this, on
both pickups, or just the bridge or neck pickup, alone? Might be a
damaged winding..that only shorts, when in certain positions, and then
reconnects in others. Who knows? There are All kinds of possibilities.
Hope you can get it sorted out.
CB
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Gibson called these, discontinued models, "Junior Lites!" Although...technically,
I think they're more "Specials," as they are 2-pickup versions.
But...since they were monikered "Junior's"....Here they are:
Both, had TP-6 tail pieces, and Tulip tuners installed...(Gold, on the Black one, obviously)...
Othewise, they're "Stock!"
CB
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IMHO, If I were you, I'd Fix it, NOW. As the old saying goes: "You can pay me a little, now...
OR, you can pay me a LOT, later!"
Any decent Luthier will be able to fix that, even out the finish as well, and you'll be back in business, in no time.
CB
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Well, my '76 Deluxe has the thinnest neck, of any guitar I own, except my '66 Epi Casino.
Can't say, it's that way with all Deluxe models, back then or the more recent editions...but it
certainly is, with mine. My Classic, and my two LP Junior Lite's (Double cuts) have almost the
same '60's style neck, both in shape, and thickness. So...???
CB
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My '76 LP Deluxe, and '80 LP Custom both have slim necks...but especially the Deluxe!
CB
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Sorry, brad...I used the "Last post" thing, and hadn't read them all. My Bad!
CB
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That's the problem! The strings don't pass through it but around it. No choice!
Here's a picture which helps to understand the way it works.
And here's another so you could figure why strings are popping out from the saddle when I'm acting like Pete Townshend.
:)
Flipping the swivel Bar would allow to pass the strings under it' date=' and so, creating an angle at the saddle place, preventing the strings from popping out. You'll understand I don't want to raise the strings height, because it plays so smooth like it is.
The problem is I have found no way to remove that swivel bar, but I've seen pictures where you can clearly see that mod been done.
I'm in need of tips ^^
BTW, getting another bridge with deeper saddle slots could do the trick. But I don't want to spend too much without learning knowledge from other users. :-[/quote']
Yeah, that's what I was afraid of! Well, maybe a good "tech" can get it set up for you,
the way you want it? If the neck has a decent underbow to it, you might be able to adjust
the Truss Rod, enough to straighten the neck even more (without overbowing it)...and allow
for raising the strings (at the bridge) and still maintaining a decent (low) action. That would
allow the bridge to be higher, and therefore increase the angle to the tailpiece. Just a thought...
CB
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Do the strings go through that bar, or are they attached via something under it? If you can thread the string through
that bar, maybe just do that, instead of wrapping them over it. They'd have a bit more angle, to the bridge, that way...
IF..it's possible, that is.
As to a new bridge...I think if deeper slots is what you're after, you can have a tech file the originals, a bit
deeper, then polish them, so there are no rough spots or "barbs," and do the same thing.
CB
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A "REAL" one....COOL! Welcome to the NutHouse! Enjoy your stay,
and your new (to you) guitar!
CB
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No lable indications, but:
Matsumoku
From Wikipedia, the free encyclopedia
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Matsumoku Industrial was established around 1900 as a woodworking manufacturer of various items but is best known as a manufacturer of high quality guitars and bass guitars.
1983 Aria Pro II, PE-R100Contents [hide]
1 History
2 Production
3 Aria
4 Epiphone
5 Distinguishing characteristics
6 End of Production
7 External links
[edit] History
Matsumoku began in Matsumoto, Japan, as a family owned woodworking business that specialized in building tansu and butsudan. Shortly after WWII, the Singer Corporation established the Singer Sewing Machine Company, Japan, and set up production facilities in Nagoya. Matsumoku Industrial was contracted to build its sewing machine cabinets, and in 1951, became a partially owned subsidiary of Singer, Japan. Matsumoku also built amplifier cabinets, speaker boxes and wooden cabinets for audio and television makers.
[edit] Production
Cutler Headstock
Label in Westone soundholeBy the mid 1950s, Matsumoku began to look into other woodworking markets and, as it had on its staff several skilled luthiers, ventured into guitar and violin production. Modest classical guitars, small steel stringed acoustic guitars, and violins were built and marketed. However, as other Japanese companies were producing similar instruments, Matsumoku set out to distinguished itself by producing high quality acoustic and electric archtop guitars. Several of Matsumoku's early archtop guitars survive, most owing their basic designs to Hofner, Framus, and Gibson. By the early 1960s, Matsumoku had acquired new mills, lathes and specialized presses and began to increase musical instrument production. Combined with its staff of skilled craftsmen, Matsumoku was able to mass produce guitars of high quality.
However, because it mainly manufactured guitars under contract, the role of Matsumoku was largely unknown outside of Japan's guitar making circles until its name began appearing on neck bolt plates, headstocks, and sound hole labels in the late 70s.
Matsumoku produced guitars, or parts of guitars, for Vox, Guyatone, FujiGen Gakki, Kanda Shokai (Greco), Hoshino Gakki, Nippon Gakki (Yamaha,) Aria, and Norlin (parent company of Gibson.) American owned Unicord contracted Matsumoku to build most of its Univox and Westbury guitars. St. Louis Music Company imported Matsumoku built Electra guitars. J. C. Penney sold Matsumoku built Skylark guitars through its catalog division. Matsumoku built many early Greco guitars as well as Vantage, Westminster, Cutler, Lyle, Fell, and no-name copies of Gibson and Fender guitars and basses. Washburn Guitars contracted Matusmoku to build most of its electric guitars from 1979 through 1985.
In 1979, Matsumoku began to market its own guitars under the Westone name.
By the early 1970s, Matsumoku had begun using CNC mills, routers, and lathes, one of the first guitar makers to do so. Even so, 60% of the guitar making process was still done by hand including planing, fretting, joining, and assembly. This machine cut, yet hand worked process yielded high quality instruments with unique character.
[edit] Aria
Aria Pro II, TS-600 with elaborate pickup switching
Back of TS-600 showing 5 piece neck through bodyShiro Arai founded Arai and Company in 1953 as an importer of classical guitars. In 1960, Arai contracted Guyatone to manufacture guitars. At the time, Guyatone was one of Japan's leading musical instrument manufacturers. However, Guyatone could not meet Arai's production requirements, and in 1964, Arai and Company contracted musical instrument manufacturing with Matsumoku.
Shiro Arai's early Guyatone produced guitars displayed problems when exported mainly caused by the dryer climates in America: bindings became unglued, backs split, and necks broke just below the headstock. These issues were addressed early on with Matsumoku. The solution was to use wood that had been dried for at least two years, stronger glues with longer clamp times, and one feature that remained throughout Matsumoku's production: the 3 piece maple neck.
The relationship between the two companies was both amicable and symbiotic. Aria focused on sales in both domestic and export markets and provided design development. Matsumoku devoted its energies on engineering and building guitars and other stringed instruments. Throughout its 22 year business relationship, Aria remained Matsumoku’s principal client. Matsumoku often preferred using Aria as its business agent, and many of Matsumoku's contracts were written by Aria with Matsumoku stated or implied as sub-contracted manufacturer.
Design engineer Nobuaki Hayashi (currently with Atlansia) became part of Matsumoku's engineering team in the mid 1970s. Hayashi's pseudonym, "H. Noble," appeared on many of the Aria Pro II instruments he designed. Aria's guitars that followed showed remarkable design innovation and a definitive move away from Gibson and Fender forms. Hayashi is best known as the designer of the Aria Pro II, SB-1000 bass and the Aria Pro II, PE series guitars.
Arai and Company guitars were briefly labeled Arai, and then switched to the familiar Aria around 1966. Aria Diamond was a name chosen for its early hollow bodied electric guitars. From 1975 onward, after the arrival of Hayashi, all guitars were labeled Aria Pro II. Aria had two factories that produced guitars besides Matsumoku, one which made classical guitars, and another that made medium grade and specialty guitars.
[edit] Epiphone
1983 Epiphone Casino, made by MatsumokuGibson decided to move Epiphone production to Japan in the early 70s, and chose Aria as its contractor. As a subcontractor to Aria, Matsumoku manufactured most electric Epiphones made in Japan from 1970 through 1986 (a few solid body electrics were made by other Japanese manufacturers and at least one model was made in Taiwan.) Models include the solid body ET series (Crestwood) the SC series (Scroll) and the Model 1140 (Flying V) as well as Epiphone's archtop electric guitars: 5102T/EA-250, Sheraton, Riviera, Casino, and Emperor.
Early Matsumoku made Epiphone archtops had bolt on necks. While production costs of bolt on neck guitars were less, guitarists regarded them as inferior instruments. Set neck archtop guitars followed in late 1975. Specifications on Epiphone archtops changed throughout the Matsumoku era.
Interestingly, Gibson changed the look and sound of Epiphone's best selling archtop, the Casino, when production shifted to Japan. Upon its introduction in 1964, the Casino was a strong seller with rock guitarists, but sales stalled in the late 60s. Gibson decided to remarket it toward jazz players and changed the tailpiece to one from a Riviera, and the pickups to mini-humbuckers. The result was a Casino that looked more like a short scale Riviera. The Casino was restored to its 1965 specifications around 1975, about the same time Matsumoku began production of set neck archtops.
[edit] Distinguishing characteristics
Back of Aria Pro II, CSB-400 showing 3 piece maple neck.Many Matsumoku built guitars, including Epiphone archtops, utilized a 3 piece maple neck with the center section's grain oriented 90 degrees from the side wood. This created a very strong neck not prone to splitting or warping. An often used variation of this is the 5 piece neck with two thin trim strips of walnut or ebony separating the 3 sections. Matsumoku made many neck-through-body solid body electric guitars and basses, most with 5 piece necks.
Matsumoku often utilized the Nisshin Onpa company who own the Maxon brand as a subcontractor for its pickups. Some Maxon pickups have Maxon's "M" logo stamped on the back.
The name Matsumoku appeared on the neck bolt plate of some guitars they built. Early Grecos and some 80s Aria Pro IIs have Matsumoku on the neck bolt plate. Other neck plates were blank or simply had the word "Japan" stamped on them.
Many Matsumoku set neck guitars and basses have the inspector's hon (name stamp) stamped inside the neck pick-up cavity.
[edit] End of Production
1983 Epiphone Casino, Hon (Name Stamp) "Kuro" - likely the name of the inspector. "78" is production number and not year.Gibson restructured after being sold by Norlin, and began to move its Epiphone production to other Japanese manufacturers and to Korea. By 1986, the home sewing machine market was in heavy decline and Singer was nearly bankrupt. Matsumoku could not afford to buy itself out of Singer and in 1987, closed down.
After Matsumoku ceased operations, Aria continued production of Aria Pro II guitars and basses through its own factories and other manufactures. Some top line and special edition guitars are still manufactured in Japan, however, most Aria guitars are now produced in Korea and China.
Information about Matsumoku's contribution to guitar making is better known now due in large part to the Internet. Matsumoku's products enjoy a strong following among devoted enthusiasts.
Players of Matsumoku guitars: Kurt Cobain of Nirvana, Univox Hi-Flyer guitars, John Taylor of Duran Duran, Aria Pro II SB-1000 bass, Cliff Burton of Metallica, Aria Pro II SB-1000 bass, Elvin Bishop, Electra Model 2281, Neal Schon, Aria Pro II PE series guitars (several models.)
Note: There is often confusion between Matsumoku and Matsumoto. Matsumoto is a town in Japan's Nagano Prefecture where FujiGen Gakki, Gotoh, and other musical instrument companies have manufacturing plants. Matsumoto Musical Instrument Manufacturers Association is also the name of musical instrument manufacturing cooperative headed by Gotoh.
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If you mean "investment" as in increasing value, like the original '58-'60 LP's have done. No way! Things are much more
mass produced, in much larger quantities, nowadays. Those prices, reflect their originality, and rarity, more than anything.
As has been stated, the CS or Endorsed (very limited editions) which were made for "collectors," anyway...and certainly not
for your run of the mill working musicians, will (most likely) increase substantially, in price, once the edition is over/sold out.
So, those...are probably a good investment, that way. But, a great guitar...mass produced or not, is a great investment
in pleasure, and it's ability to help generate some good music. That alone (to me, anyway) is investment enough.
CB
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This might be helpful?
How to Clean Gold Jewelry
About Gold
Pure gold (24k) is extremely soft so to make gold sturdy enough to use in jewelry, other metals are mixed with it, creating an alloy. Gold is an inert element so it doesn't tarnish, but the silver and copper in the alloy may react to the oxygen, sulphur and moisture in the air and eventually turn the gold jewelry dark.
There are rare circumstances in which alloys containing a high percentage of gold will tarnish, but in general the higher the percentage of gold in the alloy, the less likely it is that the gold jewelry will tarnish. Gold jewelry that is 14k and higher may never tarnish. If it does, the process will be much slower than the tarnishing of sterling silver.
Cleaning Gold Jewelry
To remove tarnish: To clean gold jewelry that does not include any soft gemstones, pearls or crystals put the gold jewelry into warm sudsy water containing a few drops of mild dishwashing liquid such as Dawn, Ivory or Simple Green, and rub gently with your fingers or a cotton swab. For more abrasive cleaning (only if needed), brush lightly with a soft baby toothbrush. Be gentle. Even with the added metals, gold is still very soft and easily scratched.
Do not use toothpaste or baking soda to clean gold jewelry. They are much too abrasive. Use only mild non-phosphate dishwashing liquid.
Rinse your gold jewelry thoroughly with warm water and dry with a cotton cloth. Avoid using paper products such as tissues because they contain particles of wood that can scratch the gold's surface.
Before storing, let the gold jewelry lie flat and air dry completely, overnight if possible. Moisture speeds the tarnishing process so it's important to make sure your gold jewelry is dry before putting it away.
Once the jewelry is dry, if it looks dull, rub it gently with a jewelry polishing cloth. Use a clean cloth, or a clean section of a previously used cloth, so that the gold is not scratched. To avoid creating a pattern, rub with the polishing cloth in varying straight lines, not in a circular motion.
Machine cleaning: If your gold jewelry still looks dark, it may need aggressive machine cleaning. Most jewelers have some type of automatic cleaning equipment, such as an ultrasonic, ionic or steam cleaner, and experience using it so they can give you advice about whether such cleaning is safe for your specific piece of gold jewelry. If it is, they can thoroughly clean your gold jewelry for you. The professional ultrasonic machines used in jewelry stores heat the cleaning solution so are more effective than the small ultrasonics sold for home use.
Professional polishing: Clean gold jewelry that still isn't looking like new may be scratched and in need of extensive polishing to be shiny again. This process is done in stages with abrasive papers, not with a polishing cloth, and is a job for your local jeweler. Such polishing will remove some gold so storing your jewelry carefully will save your gold, and save you some money, too.
Storing Gold Jewelry
When storing, keep each piece of gold jewelry separate from your other jewelry to avoid scratches. If the jewelry is a delicate gold chain, hanging it from a hook will keep the chain from getting tangled. Or stretch the chain out onto jewelers' anti-tarnish tissue, roll up the tissue, and then place the roll in your jewelry box, laying flat. That will keep the chain from getting knotted and also slow down the chemical process that results in tarnish. You may also want to put it into a plastic bag and squeeze as much air out of it as you can before closing (unless your gold jewelry includes pearls or opals; those gems need exposure to the moisture in the air to maintain their luster).
If your gold jewelry is well cared for and properly stored, you may never have to clean it. That means protecting your gold jewelry from being scratched by other pieces, keeping it in a dry atmosphere by using silica in your jewelry box or putting each piece in an airtight plastic bag, which in addition to keeping the piece dry gives the alloy metals less oxygen to react to, and keeping your gold jewelry away from sulphur producers such as rubber bands. As rubber bands age and break down they release sulphur so wrapping jewelry packages with rubber bands or having rubber bands in your jewelry box will speed up the tarnishing process. Other sulphur producers that you should not use for storing your jewelry are newspapers, clingy plastic wraps, and non-archival cardboard boxes.
Additional Tips About Gold Jewelry
As with all jewelry, do not wear gold jewelry in a swimming pool or hot tub or when using ammonia or cleaning bleach at home. Bleach, including chlorine, will attack and dissolve the metal so that the more delicate parts, such as connecting rings in a bracelet, will come undone. It's better to not wear gold jewelry in the shower either. The soap can leave a dull finish on the gold that is not easy to remove once it builds up.
Taking Care of Gold Jewelry ~ Summary
Clean gold jewelry with diluted mild dishwashing liquid. Rinse thoroughly. Dry with cotton. Lay flat to air dry overnight. Store protected so it does not get scratched.
It's okay to get gold jewelry wet if there are no gemstones, pearls, crystals or silk thread in the piece.
If more extensive cleaning is needed, your experienced local jeweler needs to do this.
Same advice as with all other jewelry: avoid getting any chemicals, including perfume, hairspray, deodorant spray, body lotion, acetone, bleach, or turpentine, onto your gold jewelry.
Wear with joy! Over time, when gold is worn it develops a beautiful glowing warm patina.
Cleaning Gold-Filled Jewelry
These instructions about how to clean gold jewelry also apply to gold-filled jewelry. By U.S. law, gold-filled means that at least 1/20th of the weight of the piece is a layer of gold (often 14k gold) that has been bonded by extreme heat and pressure to base metal (usually brass). Through that process, the outer gold layer becomes joined with the inner core of base metal (the “filled” in gold-filled) and the result is jewelry that has the appearance and durability of gold, but is stronger and costs much less.
It's important to clean gold-filled jewelry gently to avoid scratching the outer layer of gold. Better yet is to store the pieces so carefully they rarely need cleaning and never need any polishing other than a gentle rub with a soft cloth.
About Gold-Plated Jewelry
Gold-plating is an extremely thin layer of gold applied to base metal, almost like gold paint. That wash of gold usually wears away quickly. Because so little gold is used in gold-plating and the process is simple compared to the bonding process used to create gold-filled material, jewelry that is gold-plated is much less expensive than gold or gold-filled jewelry. But gold-plating wears off, so we do not use gold-plated material in our ColorSpark Jewelry, not even vermeil that is often promoted as a high-quality product. The plating on vermeil is usually 22k gold and the structural metal is usually a silver alloy, but the gold layer is still just a thin wash of gold that will wear off no matter how careful you are when wearing or cleaning your gold-plated jewelry.
Instructions about how to clean gold jewelry do not apply to gold-plated jewelry. Usually the plating won't tarnish (especially if it's 22k gold), but once the surface has rubbed off and the structural metals are exposed, the jewelry will tarnish quickly. Remove the tarnish and you risk also removing any gold-plating that remains. It's a difficult situation if your much-loved piece of jewelry is gold-plated rather than gold or gold-filled.
Because the surface is so delicate, our main advice about cleaning gold-plated jewelry is to wipe it lightly with a damp cotton cloth or cotton swab to remove surface dirt or dust. To restore shine, rub very gently with a polishing cloth that's made for gold. Avoid using abrasive polishing cloths. They may remove too much of the gold surface. It's especially important to protect gold-plated jewelry from getting scratched.
Another way to restore the beauty of your gold-plated jewelry is to have the piece replated by your local jeweler. Or, for a long-term solution, a jeweler can reset the stones in gold or gold-filled settings. That can be expensive but with proper care gold jewelry and the relatively inexpensive alternative of gold-filled jewelry will look like new for a very long time and can be cleaned and polished without being damaged.
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Looks like an old ('62?) "Coronet." with the 3 on a side, headstock. Has that body shape, and single pickup.
CB
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To make things MORE CONFUSING check out the Epiphone Limited Edition run...
http://www.ikebe-gakki.com/web-ikebe/ikebe_epiphone-limited/index.html
DAMN...did you see that sweet "335, with binding and block inlays!!! Standard Epi headstock,
so you wonder if it's Chinese, and will be available (eventually) here...as a "limited" edition???
ARRRRGGGGG!! All I need is more GAS!! (NOT!)
CB
![[smile]](http://content.invisioncic.com/p286412/emoticons/default_msp_smile.gif)
![[thumbup]](http://content.invisioncic.com/p286412/emoticons/default_msp_thumbup.gif)
P-90 Club!!!!
in Gibson USA
Posted
Not "drastically," no. They don't have quite the mid-range "quack"
or "roundness," that a P-90 has. It's almost a cross, in tone, between
a P-90, and a mini-humbucker. Some don't care for P-100's, because of
those differences. But, I really like them, FOR the difference. I have
several P-90 guitars, so P-100's are a nice addition, to the tone spectrum,
for me.
CB