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Steve Tr

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Posts posted by Steve Tr

  1. I have a pair of Duncan Seth Lovers in a Guild Starfire VI and a Les Paul and I really like the clear open tone I get from them. I also have Gibson 57 classics in my ES-345 and L-4CES and they do drive my amps a bit more than the Seth Lovers. I have been wanting to try Duncan Pearly Gates for more drive but I am very happy with what I have so no change is foreseen.

    Thanks John


    Duncan suggested either the Seth Lover set or perhaps before they go out of production, the Bonamassa "Skinners". I have a set of those in my R9 (before they were called Skinners) and to my ears, produce some of the best tone I have ever heard, especially when push a little bit harder through my 50 watt Victoria. Add a little dirt and you're in hog heaven. Not really sure how they would come off in a 335, or if I can afford them.



  2. I played a 58 ES335 recently with MHS's. Very Vintage and mellow sounding. Real smooth sounding. I want something with a little more bite though.


    Of course, capacitors could have something to do with their sound too? I'm going a couple steps down and ordered a Satin 335 with Burstbuckers. I hear they are brighter and hope are more to my liking.


    The MHS is very smooth and vintage sounding - Like you, I do want just a touch more bit too. Not LP but maybe a 335 on a mini dose of go-juice. Gibson says they come with "BumbleBee" caps but I believe they are a inadequate Luxe knock-off. Cap job is in order.


    I have had Burstbuckers my Les Paul and they did sound very good. Of course being a totally different animal, I'm sure it will sound awesome. I've also heard good things about Classic '57's going into 335s. Think I'll go out on a limb and checkout some Seymour Duncan offerings. Have had really good luck with his gear.





  3. I just received a '59 ES-335TDN and she is beautiful looking, and for the most part, sounding. Working with all control settings, I am perhaps not totally wild about the tonality of the MHS pickups. I would love to hear from owners of said guitar and get some feedback.







  4. This post made me curious as to a problem I had when registering my LP Double Cut. They told me the numbers came back to an SG model. WHAT?? Its a Double Cut. Here is the Model # LPDCROCH1. HOWEVER... the product code is SGSCWBCH1. Would someone please trasnslate these?? This guitar was purchased on 12/29/07 I think the Model # would be translated as Les Paul Double Cut Root Beer Chrome Hardware 1st run. The other one is a total mystery except for the SG part. Thanks for any translation.






    Okay after digging around in my files I found this paperwork on another Les Paul... The Model # is LPTLBNH. I've learned that this one was made in November of 2003. THis Model number needs a little help in translation. I got the Les Paul and the Nashville. The LB is the color(???) but the "T" is still a mystery (traditional?). LB= light blonde?? I don't think so....... its a reddish orange burst finish. Probably means light burst.




    Hello KB,


    I would think your interpretation on your LP Traditional is pretty much correct - The T should be for Traditional and the LB is for Light Burst.

    • Thanks 1

  5. Just thought I would add to this, late as it is:


    I just purchased a 2012 Gibson Les Paul Standard Plus Top with the model number: LPNSTDPTSCH1


    That model breaks down as follows:


    LP = Les Paul

    N = Nashville

    STD = Standard

    P = Plus

    TS = Tea Burst

    CH = Chrome hardware

    1 = First run (Not a second or not a Historic)



  6. Greetings and Happy New Year to everyone!

    I'm in the process of giving my LP Standard a vintage sound and possible look makeover.


    Do the TonePros TPKB3-N fit well in the existing headstock peg hole and does the lower screw hole of the tuner lineup with the existing Grover lower hole?



  7. Hello,

    I have an SG Classic and I am changing out the P90’s with DiMarzio Virtual P90’s. Each pickup has 5 wires – red, green, black, white and bare. I want to set them up with push/pull volume pots to get three way switching with series / parallel output. I found a good diagram on SD’s Website (http://www.seymourduncan.com/support/wiring-diagrams/schematics.php?schematic=2h_2v_3w_ssp), but of course this is for SD Humbuckers. I cannot find anything on the Dimarzio website that makes sense to me or that comes close to the Seymour diagram. Would the hookup be the same for the DiMarzio’s as shown for the SD’s? Is the wiring designation the same? This is a bear to wire in the first place and I don’t want to have to re-wire it. Thanks.

  8. Bring the strings back up to tension and let it set-in for a day or so. Without tension on the truss rod the string tension will EVENTUALLY bow the neck, then you can tighten the truss rod nut back down to where you want it.


    It will also only HELP expedite this process if you play the guitar during this set-in period.


    Would it help to tune up a step or two during this process?

  9. A couple of points to note....


    If the neck is too flat, more bow is required


    Hold the string down at the body/neck join fret rather than the 'last' fret


    Consider raising the bridge to counter fret buzz


    An experienced guitar tech may detect high spots causing fret buzz.....






    There are at least two frets that are a little high. I used the StewMac rocker method over three frets to find them. They arn't to high, just a little, but I'm sure high enough to help with the buzz.

  10. I have a '74 Les Paul Custom that I was trying to adjust the Truss Rod to get less bow in the neck (she is too flat, getting string buzz). The clearance when I capo the first fret and hold down the 6th string on the last fret, measuring at the 8th fret clearance between the top of the fret and bottom of the string is greater than .008” but less than .009". When I turned the adjuster nut counter clockwise to let her out a little, the nut spun free on the threads of the truss rod. What now?

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