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About PuerAeternus

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  1. On my LP studio and my strat, the fret goes all the way, no binding, so I would rather have a more consistent technique going across all 3 guitars. I think the string spacing is fine, the angle of the fret bevel/binding is just a little bit too much on my 335, the 1999 trans brown model im looking at has binding but has slightly more fret to work with.
  2. I'm sure a better sounding guitar with less tendency for the HIgh E string to pull off the fret would help my playing though. Did some research, apparently 1999 was one of the last years Gibson made regular USA 335's in Nashville, which seems to be favored around here, even with the regular 335 models. also i think 57 classics were made with different bobbin wire back then.
  3. I'm sure a better sounding guitar with less tendency for the HIgh E string to pull off the fret would help my playing though. Did some research, apparently 1999 was one of the last years Gibson made regular USA 335's in Nashville, which seems to be favored around here, even with the regular 335 models.
  4. not the same model as the one in the shop , thats just a picture I found of a similar one. So are you saying Trans Brown 335's were made in the kalamazoo plant instead of the memphis where current 335's are coming from? if so i think that is a pretty good trade, especially since the brown one did sound noticeably nice- i read 57 classics used to be made differently in the past, this might be why they sound different.
  5. When I A/Be'd a limited ed. 1999 trans brown ES-335 with goldhardware/crank tuners with my 2013 Dot Cherry, the brown one sounded about 15% nicer. Perhaps maybe QC was just better during then, or the woods were better, or the original owner swapped the PU's with some gold fralin pafs, but anyway I can pick it up if i trade in my own ES-335 with $500 cash. I'm quite tempted cuz it is a pretty rare color. The brown one also seemed to have more fret and less binding cutting into the fret (on my cherry one, i have to be very careful doing pull off licks on the high E to open strings or the string slips off the fret). the downside is the brown one had sharp saddles that cut into my hand when palm muting, but the owner said he can fix that easy if i make the trade.
  6. i made a soundclip to illustrate what i meant https://soundcloud.com/pureaeternus/335-vs-gibson-les-paul the 335 is playing chords first, than the les paul playiing chords for a little bit, than the les paul playing some van halen 1, than the 335 playing van halen I last. the difference is really prominent in chords...the 335 is airier and janglier, the Les Paul has more bark/Jimmy page live tone to it. would a 57 classic Plus make my 335 beefier enough for van halen (it does pretty well for that stuff already, but the LP has the slight upper hand)
  7. so would a 57 classic + be the ticket to getting better palm mutes+higher gain sounds, but still retain a PAFish character for big open chords with distortion? i Find the 57 classic does this better than the 498t, more clarity in the 3 or more note chords with distortion
  8. I have a 2004 Gibson les Paul studio and a 2013 Gibson ES-335, the LP studio i think has the 498t/490r set, and my 335 has the 57 classic in the bridge and a Seymour Duncan 59 I stole from my Schecter cuz i liked the lower output clean better than the stock 57 classic. After A/Bing the two Gibsons, I found that the LP sounded more punchy and focused, the 335 warmer. I liked the LP's "fat" lead neck tone, it reminded perfectly of the Slash neck lead tone, whereas the 335 was a bit thinner, the LP neck tone was punchier. in the bridge, I found the 498t to work better with hard rock/ metal/palm mutes.... I actually found the clean tones very comparable Now are these differences more to the fact of the different woods constructions between the guitars or the PU's? I am considering a 57 classic + for my 335 to beef it up some for heavier tones. or should i just get a 498t? how different is a 57 classic from classic + in the bridge? Also does the 490r in the neck of my LP account for the thicker lead tone than the SD 59 in my 335, or is just because my LP is like 3 pounds heavier? Uploaded with ImageShack.us
  9. So my Fedex Tracking says Gibson got the guitar last week, ... but they haven't given me an update or anything... when I should call or email back requesting an update?
  10. Shipped the guitar back using FedEx Ground.... not bad only $60, $20 for the box. apparently UPS would have been like $100. Unfortunately I think Fedex might have forgotten to put the RMA number on the carton along with the address.... I did put a sheet of paper clearly stating the RMA number inside the case, so hopefully there won't be too much confusion. Requested a Cherry Red model as a replacement, hopefully this all works out, will make a NGD if it does.
  11. Word, I didn't even know about the home pickup option. That works really well, how do you pay them that way though?
  12. . ok got the return authorization.... no experience shipping guitars, and I threw out the big Gibson Cardboard box the guitar came in If i packed the guitar in the guitar case myself with newspapers and stuff, then bring the guitar in its case to Fedex, would they be able to give me a big box there and then I could pack it myself there? Don't feel like packing the entire thing by myself and lugging a huge box with a guitarcase+guitar in it 5 blocks or thru the subway.
  13. I got the tech to do the first truss rod adjustment :9
  14. Well I actually got a tech to replace the nut in that old pic, and now the new nut is getting stripped as well! The tech I went to yesterday to swap the original 57 neck in (matt brewster of 30th street guitars) said I did not do anything wrong, the truss rod is overtightened but the neck still isn't straight. He said there's just too much forward bow in the neck and the truss rod is working too hard/just not able to correct it. I mean how else would I go about doing this? For all my other guitars, I just did like one truss rod adjustment, the neck got to exactly where I wanted it and has stayed stable so I never touched them again. Not the case with my ES-335, why else would it be overtightened and the neck still not be straight? how does the wireless abr-1 work? when i was trying to correct intonation the saddles started flipping out.
  15. Word, I got another tech to look at it, he said the truss rod is working way too hard to compensate for the forward bow, so I got him to put the original 57 neck classic back in. Hopefully Gibson won't try to say there is nothing wrong the guitar, and send me a replacement. If they do, would I be able to ask for a cherry red one instead of a sunburst?
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