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About Duffy49

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  • Birthday 11/13/1949

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  • Location
    W. Branch of Susquehanna River, Pa.
  • Interests
    Guitar, photography, travelling, music, electronics, retirement.
  1. I have a Gibson Faded SG in brown, approx. '07, with the stock open coil 490t/r pickups set. I have a set of chrome covered supposedly "hot Fender" humbuckers that I took out of my Fender Blacktop Strat when I put some Seymour Duncans in it. Some of you have the Gibson Faded SG or experience with it. I'm wondering what you think about the idea of switching out the stock SG Faded pickups - uncovered 490t/r set - with the chrome covered "hot" Fender Blacktop HBs? There still is some disagreement in the documentation on Gibson's website as to if the 490t/r set is "alnico 2" or "ceramic". The chrome covered "hot" Fender humbuckers are alnico 5. The SG Faded has been reunited with me after an absence of close to four years - stolen and then returned. I guess I should consider myself lucky. Anyway, I want to "make it mine" again. I am glad to have the guitar back. For some reason the stock pickups in the Faded SG never seemed to sound remarkably good. I just bought a new Gibson SG Standard during the close out a couple months ago and I really like the 490/498 covered pickup set in it. I also put the 490/498 gold covered set in my black Epiphone LP Custom and I find that I really like the set in that guitar too. Both of these other guitars have the 490 at the neck position and I really like the sound I get from the 490. I think the 490 has such a distinctly different sound from the 498 that it is complimented by the 498 and stands out as a very nice sonic option. Anyway, the 490 neck pickups in these guitars sound great but I'm not thrilled with the 490 neck and bridge set in the Faded. As much as it seems that I should like the sound of this set in the faded SG, I don't. Is it possible that the uncovered 490t/r set in the faded SG is an economy version of the 490s in my other two guitars? The difference doesn't make sense. Maybe I need to give the stock 490 set in the SG another chance and raise and lower them to try to find a sweet spot. Experimenting with the stock pickups aside, what do you think of the idea of trying the chrome covered Fender "hot" humbuckers from the Blacktop strat in the faded SG? These would be hot alnico 5 pickups and I might find them more enjoyable. I think it is worth a try. Another possiblilty would be to buy a set of '57s, the '57 classic and classic plus set. Or I could even go with the nickel covered Dimarzio Superdistortion bridge and 36th Anniv. neck. Are there others that are not satisfied with the 490 set in the faded SG or just plain in general? Feedback is, as always, appreciated.
  2. Dude, I just got a new heritage cherry Gibson SG Standard and it is a very nice guitar. Very well built and it has a high gloss mirror finish, which I like a lot better than those satin finishes on the SG's. The 490/498 pickups sound great thru a clean channel on my Marshall JMD1. There are no gaps along the neck between the neck and binding, as has been reported by some, and the overall quality is really high. I hope you get a real nice one, like I did. These guitars are light and awesome. The neck on mine is definitely "far" from being a baseball bat - quite thin actually, but I don't think it is the real thin one that they have made before, but I could, of course, be wrong. It plays very effortlessly and feels great.
  3. On some forum, recently, I saw where some guy is getting rid of his Stage 60 because he can't get the real good clean sound he is looking for. I would never get rid of the Stage 60 because of that. I'd get a second amp like a Fender Super Champ XD/X2 for my cleans; or better yet, a Blues Jr., or a DRRI. I think those Stage 60 amps are awesome and the overdrive sounds are awesome. I can get some tones out of that amp with any guitar that are just beautiful. I think you did well getting that amp and I bet it is more than all kinds of fun. You might want to get a Dimarzio bridge full sized humbucking "Super Distortion" pickup for one of your guitars. I have one and it sounds great thru my amps, especially my high gain and ultra high gain amps. I would recommend one to anyone. In fact that pickup might be enough to push a smaller amp into El Dorado. I don't mind preamp distortion on a good amp like that either. Some of my amps have six preamp tubes. That allows for a lot of tone shaping. Power tube distortion is great for when you want to really blow the doors out, and it is definitely exhilerating and fun. In any half way loud band a powerful amp like the Stage 60 should be able to run with the rest of the crew, which is good, because if you have an underpowered amp the drummer, etc., might just yell at you to get a "real amp", and you might not have a place in the band. I think it is always good to have at least one powerful stage quality amp, especially one that you can turn down to very beautiful house volume levels. These are not always easy to find - such as in my Hot Rod Deluxe that goes from no sound to very loud with just the slightest adjustment of the volume knob. It is a very nice amp though for moderate to super loud use.
  4. Who asked you who should or should not play guitar? It's trolls like you that make these forums disgusting. The early Class Fives didn't have a power switch if I'm not mistaken. There are a lot of factors to consider when considering if an amp is too loud for a particular person. But since everyone has to play by your rules, you wouldn't know that. Why don't you just stay out of the conversation if you don't have anything to contribute? People play acoustic guitars, dude.
  5. Just checked mine that I'm sending back. It also has a wider neck than the fretboard. Both sides are approximately 1 mm wider than the fretboard, consistently all down the neck. It must be a specification problem in the guitar's design. That should have been specified differently in the design, or the edges of the neck should have been trimmed to be flush with the ffretboard - in my opinion. I noticed that early on but dismissed my concern, attributing it to the way the guitar was put together. I figured that they knew about it at Gibson and that they were okay with it. Now I realize that it probably should have been corrected in production or pre-production. Thanks for pointing that out. I thought mine could have been just the only one. These forums are very good for getting information out.
  6. It is with some disappointment that I have to send my Tribute gold top back to the dealer. I'm getting a refund and am not sure which route I'm going to go after it is applied back to my account. The problem is a factory defect that definitely should have been noted during the Gibson inspection. The strings do not cross the polepieces on the bridge pickup correctly. The three unwound strings do not even cross over the polepieces on the bridge pickup. The unwound "E" string is at least 1 - 2 mm off of the edge of the polepiece, moving toward the other side of the fretboard, wound "E" side. The wound "E" string passes over the fretboard at the same distance from the edge all the way down the neck. The unwound "E" string progressively moves farther in from the edge of the fretboard as it passes toward the bridge. By the time the strings cross over the bridge pickup the unwound "E" is way off the polepiece. It is not a matter of adjusting the pickup or the pickup mounting rings, because the strings track down the entire fretboard incorrectly, as if the neck itself was set slightly angled to the right from the mediian line of the body when it was put on. The neck should be centered on the median line of the guitar body so that the point in the center of the bridge pins lines up with the mid point of the top of the headstock, so that everything is in line with equal distance on each side of the neck, all the way down the neck from the median line. I have never seen a neck that was so off center as this one is. So back it goes and I'll have to think it out. I may decide to get another Gibson faded LP studio, like my brown one, but in the transparent faded red. If I do this I will put a set of Gibson 57 classics and classic plus in it so that it has a different voice from my brown faded studio. Another option I'm considering is getting the Fender '72 Classic Player series Telecaster Custom. It is the one with the big Fender Wide Field humbucker at the neck position and the four control knobs like the LP. It is a solid body with a rosewood or maple fretboard. I will have to decide on the fretboard if I get this. It is a great sounding guitar. I played one at a store near where I live.
  7. I was fortunate enough to order a new gold top fifties LP Tribute yesterday and I'm, of course, enthusiastically awaiting it. Hopefully it will be here expeditiously. I debated between the honey burst and the gold top. I have always wanted a gold top LP and I'm glad to have one on the way. I looked at the other Studio options and decided that this model has the features I'm interested in. I might even leave the pickups uncovered. I also might put in a bridge Dimarzio "Super Distortion" pickup, depending on how I like the stock pickups. What are some of your impressions of the stock pickups? I have a nice new Marshall two by twelve combo amp - a JMD-1, an amp that is a hundred watts and has four EL34 power tubes but a modeling preamp that models only other Marshall amps. The amp has been discontinued and I paid less than half the regular internet price for it from one of the big internet places like MF. Currently I'm playing my relatively new Gibson LP Studio Faded thru it. It is the brown one with the smooth maple cap and the Burstbucker Pro pickups and rosewood fretboard. It is a really nice guitar with very beautiful tone. I wonder how people think this Tribute stacks up against the Faded's, if you have had the chance to play both guitars enough to be able to venture an assessment of the two. It won't be long and I'll be able to make my own assessment but in the meantime it will be interesting to hear what others have observed and have to say. I have not had the chance to play one of these guitars and I bought it based upon what I have read about them. My confidence is strong that this will turn out to be a great guitar. The nearest actual Gibson dealer is ninety miles or so away and that is a GC. Duffy On the West Branch of the Susquehanna River in Northern Pennsylvania.
  8. Congratulations on the amp Dg. That looks like a great choice. I have played the Stage 60 a few times and it definitely impressed me a lot. They talk about Tweakers being great, versatile amps - I had one - but the Stage 60 seems to me to be even nicer and possibly even more tweakable, plus it has EL34 power tubes that sound great to me. You picked a really nice amp that should be totally worth the money, in my opinion. You could have gotten a much more mediocre amp very easily. Evidently not that much is widely known about exactly how the big Blackstars get all their great tone. It has been suggested that the ISF circuit might have something digital in it - well, if it does, they sure did it well. I really like the OD channels on the amp and the voices you can choose for each channel. I can easily see where you might not ever need to use any pedals. I like a little delay, so I would have to use a delay pedal, but the reverb was totally nice in my opinion. Even the clean channel and voices sound great - a strat sounds totally nice thru them to me. I might have to get one of those Club 40's some day. Enjoy that amp and let us know how you like it as you learn more about it. Good luck with it as well.
  9. You're cool, man. You don't need to explain yourself. We are all glad to share our experiences and ideas with you, and we have a lot of them. It pretty much goes without saying that you are out there checking amps out. The other dude meant well, I'm sure, even if he seemed a little short in not reading the whole thread, etc. I'm sure he was just emphasizing the need to do the "real world" hands on, ear into part. I like to get feedback from people who have "been there/done that" before too. Sometimes experience teaches us things we wish we didn't know, and it is definitely possible to learn from other people's experiences; and then put it to the test and see if the results are the same for you - it is kind of an intelligent approach I think. Most people are probably like you - they sit here and get as much input as they can from other possibly more knowledgeable people and then go out and make their own decision, more or less.
  10. Truthfully, Egnator and Blackstar are, in fact, the favorites of many owners. This point needs to be stressed in light of the possibly misleading comment.
  11. You mentioned a used Marshal DSL you looked at or is available - that is a "dual super lead" (DSL). Those are very nice amps in my opinion and the ones I tried sounded great at low volume and even produced lots of great overdrive at low volume. Plus you can crank it up for some real fun when you want to shake the walls. Another nice amp is the Blackstar Club 40, two channels with two voices each and some tone shaping buttons, plus a supposedly "infinitely" variable tone knob that selects either a British or American sound or any blend in between. This also has EL34 power tubes and a decent speaker. Personally I think it is a great fifty pound combo. The overdrive is really nice, not at all harsh like the Fender Hot Rod series, but very useable. It might be worth checking out if you get a chance. I have a DRRI and it is a great amp, a very "clean" amp unless you turn it up loud. Good headroom but rocks when cranked. I also have a tweed Hot Rod Deluxe with a Jensen P12n alnico speaker that is a very nice amp and also very loud, not really anything like a bedroom amp. I also have a Peavey 6505+ combo that is an awesome amp - super high gain, two channels with what amounts to a third channel when the boost button is engaged on the rythym channel. The clean channel is very nice but not clean like a Fender amp, or even a Marshall DSL. In my personal experience lately, the Blackstar Club 40 is one of the nicest amps I've tried and it costs only about 699 from the big internet places. It is a lot of amp for the money. They were designed by some amp designers that used to work for Marshall.j A used nice Marshall like the DSL or even nicer could easily be within your price range, and it could be an excellent choice. Nothing seems to sound like a nice Marshall, but some of these other amps are nothing to scoff at. I hope some of these ideas are of help. I'd like to get a nice used Marshall myself.
  12. I would definitely check out the Blackstar Club 40 at 700US. I have played them several times and it is an outstanding EL34 based amp and has two channels with two voices per channel and some other swithes and buttons something like an Egnater Tweaker, but it sounds way better in my opinion. It is one of the best amps I have ever played in terms of sound. I liked it better than the Dual Super Lead by far and it costs way less. You can get some awesome tones out of it and it has a great speaker in the combo. Totally an awesome amp and sounds great clean or with distortion at low volumes. Although you, and others, may like different amps more, this is an amp that I would seriously consider before spending 700 on a different amp. You can go anywhere from clean to ultra high gain, with plenty of sounds in between. Hope this gives you something else to look at. Also the Bleackheart "Hot Head" is another amp head that is highly regarded with 100 watts, but with switching to go between A and AB class that lets it put out as little as 30 watts. It is built with ceramic tube sockets and quality components, with a five year warranty. Four EL34 power amp tubes and something like six preamp tubes. Can be very high gain and has been compared to Marshall JCM 900's in sound. This amp, interestingly, sells for only 499 for the head; so that leaves plenty to get a good cabinet for it. You may want to check out this supposedly great amp head.
  13. I just got a maple cap worn brown one from Americanmusical.com, no affln. Very beautiful, smooth top with a beautiful grain. A satin top, very smooth and has beautiful lustreous glow. Plays great and sounds super great. The maple cap has its function and definitely looks very good. It does not have a grainy feel or look to it and there is no need to polish it down to make it shine. Great guitar, easily available.
  14. This may sound like overkill but I bought a Peavey 6505+ 112 combo and it is an unbelieveable sounding modern sounding all tube combo amp for 599US. It has essentially three channels, two physical channels - lead and rhythm with separate eq's for each channel and separate pre and post gain knobs for each channel, plus resonance and presence knobs for each channel; boost on the rhythm channel is like a third channel of hot overdriven tone similar to the lead channel. This is sixty tube watts with five pre amp tubes and two 6L6 power amp tubes. It gets window rattling loud and sounds really cool cranked, BUT you can turn it down real low to bedroom level and get great tone out of it - all without using any pedals, and it makes a Les Paul sound beautiful, like Leslie West or something. This is no wimpy thin sounding amp for sparkly clean country twang, it's a high gain amp with some awesome full tone. I have to say it is the best amp I have ever owned and if I want a super clean sound I'll use my Fender Super Champ XD wihich is another possible amp for you at 299US that has a full tube compliment including power tubes but has sixteen amp models from super clean to super high gain, plus about eight essential good built in effects - but it doesn't roar like the fully saturated Peavey, even at low volume, even though the SCXD is a super nice amp for what you are looking for, in my opinion, and it has a five year warranty. I encourage you to check out one of those Peavey 6505+ 112 combo's for 599. Play with turning the pre and post gain knobs up and down, one up and one down, and visa versa and see what kind of comparison you can get at low volume to the other amps you are looking at. This amp has a lot of potential and can crank for when you want to have fun or drownd out a loud drummer that tells you to "get a real amp". Ha ha. That is always really rewarding to be able to see him frantically waving you down instead of insulting your underpowered amp. The day may come. My Super Champ XD on one of the louder voices has, with its fifteen tube watts, had some drummers sternly waving me down while I casually take my time to do so like I'm not sure what they mean. Very rewarding. But very embarassing when he yells at you to "get a real amp". So in the big picture getting a more powerful but versitile amp that you can turn down and still sound great, is a good idea in my opinion. Plus high gain amps just sound great, in my opinion, especially if you have a clean amp you can use when you want that sound.
  15. The new style maple cap models are very smooth, with a nice finish. I'm sure the can be highly polished.
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