stein

I like the idea you had of doing one PG stock, and another modified. With a pickgaurd mounted this way on these, it would be a perfect testbed for swapping and trying different things. Besides, you said yourself, most of the electronics for most Gibson basses is on the sucky side. So I think the bass world could use some options.

Is it even possible to get the water damage colored part to match? Umm..yea...it looks like the spline was done right, and the appearance it has makes it look like it was. Besides, I don't know how anyone could have any control of the color or the placement when you are dealing with a thin piece of wood on the side, and the spline goes pretty much where it needs to be. Said all that to say, that if it were to be left visible, it would still have a coolness factor to it, and still look "good" in a way even if it was still visable. It's interesting to watch. Don't see water damage being fixed every day. Especially appearance.

Pics of heart surgery would have been less cringe-worthy. Nice work, Doc.

I see. I didn't know quite that much about what you did or where you were. You might already BE where I was suggesting..as in, perhaps making the one-offs when asked. But the reason my senses perked up, is that to my knowledge, no one is making a Lawrence type pup. The Duncans "Firebird" types are really traditional humbuckers, aren't they? I bring it up, because I had a guitar I bought and had wanted to try Firebird pups in it. And for me, usually I start with the real deal, actual model and go from there. By that I don't mean they have to be "vintage" or old, but rather reproductions that are somewhat accurate. What I discovered, is that makers made a "version" of a Firebird pup, but none actually made what is an ACCURATE Firebird pup. That is, made the same way, made to the same specs, and meant to sound AS they did...as opposed to "like" it or an improved version. I found this odd, as while it ain't exactly the most popular pup, I thought they had a sound and were highly regarded by at least some. Now, let me back up a bit: I ain't a winder or maker. Where it started for me was I had a Strat I wanted to put good pups in (actually, a BUTTLOAD of Strats). When I asked the question "what does this pup sound like?" and the answer was "a vintage Strat pup", and no one could tell me the difference between one maker to another, that's when it started. I actually started buying all the pups I could find, putting them in, and LISTENING to them. What I learned is that there is something to CERTAIN vintage ones, and some makers tended to capture some of this or some of that, and some could make them accurate, better, or both. OBVIOUSLY, there are some makers who came across actual knowledge, and had put the work into it. Some specialize in one area better than another. I think as a whole, it's worth it. But, I agree there are literally a BUTTLOAD of makers who claim to have something special and don't know what they are hearing or talking about. And, so many, many possibilities in between that trying EVERYONES pups doesn't make sense. I was just wondering how far you were going to go with the Lawrence type sideways wind. You gonna just reproduce the spec and make enough for the bass or are you going to try a few to see what makes them better or worse?

I don't know how many pups you are planning to wind for this, but it might be an oppurtunity to unlock the secrets of the Lawrence design. I don't know anyone, anywhere, that is currently offering a Firebird pup of that design. And while I don't know what the following is or what poeple are ACTUALLY looking for in a Firebird pup, I think those in the know consider them to be good pups, maybe THE pups? This might just put you on the map with the likes of lollar and Fralin?

I'm surprised some form of green isn't on the table. You seem to get worked up whenever something green and swampy comes up.

I think the 330L reissues are awesome. Personally, I think the neck length makes it a different animal just based on that. One of the advantages of the 335 over the 330 is the neck lenght. It doesn't seem like a big deal, but the neck of the 330 is just short enough to make it difficult to play certain things like what you might do with ana LP at least. But a 335 or an SG has plenty to spare. I kinda get the impression the the neck join had more to do with stability and strenght than tone. There weren't all that many origonals made of the 330L, and I think the lack of popularity had more to do with comparing it to a 335 than a regular 330. To be honest, that's just a guess as I was a child at the time. I have played a couple, and it's just my opinion, but I think the reissues are at least as good. I don't think Gibson gets enough credit in that what they are building today is as good or better than certain periods of the past. This to me is one example.

"One Mint Julip"-Ray Charles

Transformers too?

Ooooo...MAGNETS! ELECTRICITY! I love this stuff. Searcy is the MAN! In this case, his knowledge, his EXPLANATION is spot on, and easy to comprehend in a real world application. I am not sure I can add anything usefull, OR make sense or be able to explain scientific complexities in my current state, but I can't resist being part of the conversation due to my electricity fettish. 1) Magnetism and electricity are always constantly connected and intertwined. The magnet/coil that makes a speaker work, is the result of an electrical current being resisted by the magnet, making the speaker move. A microphone is the same thing in exact reversr, in that air pressure from sound waves makes the diaphram move and a coil resist it, giving an electrical signal. Extend that to include needles on record players, the heads of analog tape, and a guitar pickup. ALL these things are the result of a magnetic field against an electrical current. 2) Dig the fact that where ever an electrical signal exist, there is also a magnetic field present. Metals and materiels that do not hold a charge produces one when electricity passes through. A guitar cable, or an interconnect cable, even though it is only 1/4 in diameter typically has a magnetic field the size of a coffee cup when electricity goes through it. The materiels it is made of, as well as where it is placed, could effect the sound qualities to varying degrees, dependant on how the magnetic field can be bounnced back to influence the electrical signal. 3) now consider STATIC eletricity, produced by stray particals being charged. Static electricity can be caused by electrical currents made by the equipment or come from outside sources. It can be stored or dissapated depending on the design of the equipment or the materiels used. It has an effect on the electrical signal, and can effect the quality of sound. Said all that to say that for pre-audio and the audiophile world, de-magnetizing is a way of life. It is a standard proceedure for keeping recording equipment in top form, and regular maitenence for audio playback systems for some. It is basically the process of eliminating stray magnetic build up. MAGNETS or magnetic field producing stuff is one of the most common ways. I have degnatized all kinds of stuff, including my own self after a day of working in puddles of water with drills and getting buzzed by electricity all day. I've also on occasion damaged some stuff in the process, although almost always because I did what I shouldn't have. Anyway, what I am saying is that while you CAN damage a magnet or change it by the USE of a magnetic fiels, exposing it to a magnetic field will not change it in itself. The magnet that has a charge to it has one because it was put there, but it retains it because there are physical properties to the magnet that PRODUCE the magnetic field. It must be forced to change the particals to alter the magnet. Simply exposing it to even a more powerful magnetic field won't change it, but you must USE the magnetic field to manipulate the particals to change the magnet. That is why when SEARCY PASSES the magnets over the field in the vid he made, it changes the magnet. But for the most part, we can all rest assured that simply storing the pups, having then stick together, or even pressing another magnet to it won't alter it. It has to be powerful enough to cause the particals that cause the magnet to work to be forced to change. (passing it over causes more force applied, see?) This is also why magnets hold thier strenth seemingly forever, and even anolog tape can be stored indefinately if you don't expose it to physical damage like moisture and heat.

I know what you mean...I don't often use a pick, and hearing others like "heavy handed bluegrass players" dig into a guitar...a d-28 for example...pull out some 'brights' that don't just pop out on thier own when I play it. He actually is a really good layer, having seen some of his stuff posted. What he was playing there was more for demonstrating what the guitar sounded like...and I felt I could tell easily. That "wet noodle" deal.

Maybe...But I don't know that the 'typical' HB sound is so dark. I think what he is referring too is that "wet noodle" tone that a lot of guitar seem to have. I don't think THAT sound is typical of any particular type or model. I have heard this on a lot of higher-end new Martins as well.

I have played a few REALLY good Bird's...in fact, I nearly bought on back when I was looking for a Martin 000 or OM. But, yea, played some really unusually dull sounding ones. It makes me wonder, if it didn't have something to do with the electronics or the bridge materiel they were using. The good ones I played didn't have any. I have never had a guitar I couldn't 'wake up' by altering string brand and gauge, but these have all been electrics. One of the reasons for buying a NEW guitar, is choice. SELECTION. I like really bright guitars, mainly because I am good at strumming "mellow" if I want, and I like the color and harmonics a bright guitar has. I just love bright guitars. So, when I was shopping, I just put the dull ones down. I spent lots of time playing ones I liked. I would be curious to know what the reason, or fix is.

NOW you are getting it. Observe: Notice, on a typical guitar without binding, the fret ends go all the way to the edge-you can even see the fret ends. On a guitar with binding (no nibs) the fret has to be a little shorter, so as to not stick out the end. With nibs, shorter still. So, with the 3 different ways, there IS slightly less "playing surface" with each one. Gotta run...More later.

Yes...That looks the way it should, from what I can see in the pic. Those 'nibs' are the way Gibson does all electrics, and many acoustics, sinse way, way back. Many modern acoustics don't have them, but if it is an electric, or an archtop, and it has binding, that is what it should be. If it isn't, it is likely been refretted. That is one of the reasons a vintage Gibsons sometimes loose value if they have been refretted. If you bought it new from a retailer, you don't need a reason to return it if it is within the policy. If you don't like it, that is enough reason. But if you are thinking it is odd, or a defect, I hate to see you turn in a guitar you like in every way besides this.

What do you mean by "no ridge underneath"? What you are describing about the fret ends and the binding is what Gibson has always done, on nearly all of their electrics dating back to the original Les Paul's from the early 50's. You SHOULD find this on nearly every Gibson electric you play, unless it is a refretted guitar. It does have it's disadvantages sometimes, as you point out. But it also has advantages in the feel of the neck. The binding coming up on the edge of the frets makes the edges feel smooth. It is one of the reasons Gibson's have a reputation for having such great feeling necks. If you are having issues with the string sliding off, one thing you can do is have a new nut installed and cut with the high E string positioned further away from the edge. Also, you could do the same with the bridge. It might mean you need to get new saddles. There have been threads and discussions about this issue here before. It may be that Gibson is positioning the strings too close to the edge lately, and it could be that some players aren't used to it. It could be both. But regardless, having the guitar set up for YOUR playing and preference is the way to have what is the BEST playing guitar for yourself. And, there is no reason that it can not be set up to play great for YOU.

Just googled Lindy Fralin. The website does come up. Lots of helpful info to read about in helping to choose pups. Also, his address and phone # are at the bottom of the page.

Another short version of an answer: Overwound, or hot pups, are not really the pups you are looking for given what you describe you are looking for. What you are decribing about the pups you have is not a reflection of quality, but rather that overwound pups are NOT going to sound good to you. If I were in your shoes, I would return the pups if possible. At the very least, exchange them for a set of the 'standard', or low output versions. Fralin pups may not be what a lot of "Jazzers" are into, but they are highly regarded. I would expect them to be at least as good as the average "high" quality PAF style made by Gibson, or Duncan. Still, I would try and get a hold of Mr. Fralin himself. He does do custom pups for poeple, but likely he would already have made or have available pups wound to the application you are describing.

I was shopping for and played a number of 335's right around the time they were all from Nashville, and shortly after when they started coming from Memphis. To me, I think that TONALLY, there is more variance from one 335 to another than most guitars. Not a quality thing, but that different 335's can sound COMPLETELY different from each other. I thought the mid 90's ones were great as far as quality, but the more important issue for me as to the sound of the individual guitar being one that excites me far outwieghs and minor quality issues there MAY be between them. Of corse, one thing that kinda sucks all the way around, is the 335 USED to be a "STANDARD" model before the Memhpis factory came around. When they started making them in Memphis, they discontinued the regular production of the Nashville ones, and the price went up considerably. The "idea" being that the Memphis factory being more of a "custom" shop. Now, it seems all used 335's reflect the new prices of the Memphis ones, rather than the used prices of a typical used Nashville "standard" production.

The 333 really is built to the same quality/specs as a 335, with the major difference being the finish. It also has a back plate like a solid body to make electronics changes a LOT easier. Other than that, they are the same guitar. There MAY be a big difference in price. 335's are much more money new now than they were, so that seems to effect the used prices of older 335's. The 333 was discontinued before the prices went up, so the used price of a 333 might reflect a MUCH lower price in comparison to the used 335 made at the time.

Yes, I see this difference between "current" 335's and place of manufacture. And good post, btw. What I was referring to was the regular every-day production BEFORE the opening of the Memphis factory. THAT 335 is no longer made there, and has been "upgraded" to being somewhat of a "custom shop" model by making it in Memphis rather than Nashville. In other words, what is NOW the cheapest model is a "custom shop" Memphis version, even as it is still what is now considered the "standard" production model. The less expensive production "standard" model made by Gibson USA no longer exist.