rct

That one is nice. Do you know the owner? It needs lead plates on the back to counter the notorious Gibson Neck Dive. rct

Scraped binding, by any other name, has existed for a long time. Whatever this clown did with his guitar is a joke, so yeah, it's fake binding on a neck heavy Gibson. The eyerolls you bring are headache inducing. rct

It is not "faux" binding, it is "scraped" binding. It has existed for longer than there have been electric guitars and is considered fairly high end stuff when done right. rct

Yes. GC can get you a blank cover. Trophy shop will engrave it. rct

I take my truss rod covers and neck plates to any trophy guy in town, they'll do it. rct

10's cause the neck dive Gibsons are known for. rct

Oh Man! rct

Interestingly enough, my 66 Firebird and one of my L-6sii, I believe the later one, 75 I think, both exhibited no interaction with door frames. I assumed then and now that the neck just wasn't cooperating. Also interesting that I had neither guitar for long. rct

While you guys are at it, comfortably hang the guitar and walk around playing it. Strum big fat open chords with the headstock firmly against a door frame, see how much amplification that frame will give a few different guitars. rct

It'll sound clanky as hex. It'll take three LPBs to dent that much headroom. Awesome. It is 1977 again! rct

Good to hear jdgm. I am glad for all of you it worked out and best of luck with the gigs to come. rct

Yes. She was a loon when we were all in our late 30's, time had not lessened her lunacy. rct

Unfortunately, when it comes to guitars simple is always better. No one guitar does the handful of things guitars do, that's why there are Fenders and Gibsons. rct

Yes, one of the hardest parts of running a band. We had months of that with our last drummer and in the end, the answer to "Dude, what is going on with you?" forced us to gently fire him. It sucks, but being able to talk about it has to be part of it. rct

Now that is a lot of stuff on one guitar. rct

Good luck jdgm. Our other guitar player completely wigged out on us overnight. We still don't know what happened with him and he hasn't spoken to any of us about in a year and a half now. It was, however, best thing we ever had happen. We didn't know the problems he was causing until he wasn't causing them. rct

I adjust them with my Tone Wrench and my Sustain Gauge. rct

I've lived a long time now not giving a frig about whether it touches or not, I am certain you will too. rct

We've done that like 40 times in the last two months with the new drummer. It's amazing how relaxed, how just diggity fun it is when you don't have to spend most of your time cuing the drummer. He knows this one back to front, and that makes for happy bass player and guitar player. It has again become the joy it once was to romp through. rct

That'll make the gigs go great. rct

I mistook you for the other Chris, my bad, I apologize. But yes, they do have techs at GC. I think we are using the words "set up" for "make playable", which I agree with. Otherwise, my "set up" is definitely not yours and vice versa. They can't "set up" the guitars for every potential buyer that walks in. rct

You head on into GC and ask them to do a "quick set up", let us know how that works out for you. And let us know what happened. We used to have decent conversations with you. You not swallowing all the pills in the little crinkly white cup? rct

The pitch of the note. It occurs between the nut and the saddle and no place else. When you bend you are causing the string to shorten between two fixed points, the nut and the saddle. That shortening of the string at that tension causes the pitch to rise, it is the same as very quickly spinning the t00ner up there, you are raising the pitch by adjusting the tension between two fixed points. The pitch of note One, a fretted note somewhere. The pitch of note Two, the bent fretted note. Both of those pitches require the same string tension no matter what happens past the nut or saddle. You can't have either note without the required tension on the string, it just doesn't happen. Seriously. You can go back and forth with me all we want, what happens between the nut and saddle determines the pitch of the note. A Floyd Rose locked nut and bridge is no harder to bend than any other guitar. If bending strings is "hard", practice fixes that, not raising your tailpiece. rct

The tension on a string is determined by the pitch the string is tuned to, not what happens past the two points, nut and saddle, that it stops. Tune your guitar to pitch with the stop bar all the way down. Raise the stop bar. The pitch will have flattened, depending on how far you raise it. Guess what happens when you tune it back to pitch? rct

It's good to try things. But keep in mind that the stew that is this thing called "sustain" is made up of about 50 ingredients, and the mechanics of the bridge are probably negligible compared to everything else. All the players I learned my legendary sustain from didn't have locking bridges on their Les Pauls and SGs and Explorers. It's more what you do and how you do it than what you do it with. rct