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Blueman335

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Everything posted by Blueman335

  1. Common problem, easily fixed. On most tune-o-matics, the saddles on the 3 high srings point one way, the other way on the low 3 strings. The first time I change strings on a new guitar, I turn around the saddles on the G and D strings to get the most movement. That just almost always allows me to get the intonation dialed in. Every guitarist should own Dan Erlewine's book "How to make your electric guitar play great.' Teaches you all about set ups, lots of pics and text. You can get it from StewMac.
  2. +1. Yes it was. They were some great times though. The excitement of all the heavy British blues groups in their prime. Besides Fleetwood Mac, early Zeppelin, Cream, Savoy Brown, Jeff Beck Group (Rod Stewart era), Ten Years After, Bloodwyn Pig, etc. Wow, great music coming out constantly for a while. Those were the days.
  3. +1. Very responsive, and maestros have the best handle of any vibrato.
  4. +1. There are a lot of very good Dots out there. I picked up a used Dot, natural finish, with a thick 1950's (dark) mahogany neck; put in a pair of Seth's, and wow, what great tone. I've got $400 into the thing, guitar and PU's, and I wouldn't hesitate to go up against Gibson 335's with it.
  5. Peter Green in his Fleetwood Mac days is one of my favorite guitarists. Such emotion in his playing, and those string bends...whew.
  6. +1. Just takes a few minutes to do both. because of seasonal differences in temp and humidity, necks will bow or backbow a little from time to time, no big deal. If you don't have it already, you should get Dan Erlewine's 'How to make your electric guitar play great' from StewMac. Teaches you how to do set ups yourself, lots of pics and text. Excellent book that every guitarist should own.
  7. +1. '59's were the first high quality PU's I bought, and what a difference between them and the stock Asian-made PU's that come on imports. That's what made me a believer. Duncan makes 5 models of PAF's: '59, PG, Seth, Antiquity, and A2P. I eventually got all of them.
  8. I used to be that way, but I was at the mercy of what the guitar happened to be, and I got tired of that. I did two things that forever changed that: got Dan Erlewine's book 'How to make your electric guitar play great', which has pictures and text to show you how to set up Gibsons and Fenders just the way you want them. The other thing I did was just the Duncan forum and there I learned the words they live by: "Take control of your tone." I've learned a lot about PU's, magnets, and pots and significantly improved the tones on all of my guitars. Like night and day. I don't expect any
  9. +1. Loose wire, easy fix. Should be able to see it.
  10. I don't spend a fortune on PU's, I buy almost all of them used, for around half price or less. I just bought a nickel-cover Gibson 60ST/50SR set (from an Epi Elitist) for $50 delivered. That's less than a pair of new GFS or Duncan-Designed would cost, and they're much better than either of those. Actually, the Epi alnico classics are nothing like Gibson '57 Classics; the Epi's have A5 magnets, which have a lot of treble and bass, scooped mids, a sharp high end, tight low end, buried in wax, and are fairly high output. Gibson '57's are PAF's with A2 magnets, which have a lot of mids,
  11. Yes, to get the best out of an Epi, you have to change the PU's, regardless of whether you like the stock PU's or not. You can get decent, acceptable tones from a stock Epi (whatever model), but to get tones that qualify as 'great' you have to take that next step. I upgrade PU's, do my own set ups, swap magnets in PU's when needed, and I get compliments on my tones everytime I play on stage. It's the PU's that make the difference.
  12. Nice score. Those Rivieras are hard to find. I don't think they were ever made in any kind of quantity. Too bad.
  13. Yes, you're either incredibly lucky, or play with a lot of distortion and effects, or don't have a good tube amp, as upgrading PU's on Epi's invariably gives much better tones. No comparison. Example: I bought a used Epi Korina '58 V last year. Plugged it in to test the electronics. It sounded incredible, like no other Epi I've ever owned, and I've owned dozens. I was blown away by the clarity and articulation. Never heard an Epi anywhere close to that quality of tone. Took off the strings and flipped the PU's over. They were Dimarzios, the seller forgot to mention that. I've probably
  14. 490's have A2's, which means lots of mids, rounded high end, loose low end, and lower output. What makes A2's so popular is that they have a lot of dynamics which gives them an organic sound. 498T's have A5's, which have a lot of treble and bass, sharp highs, scooped mids, a firm low end, and relatively high output. Paired together the bridge is pretty bright and the neck pr...

  15. I've found the same thing, Asian-made P-90's sound much better than most Asian-made HB's. Simpler design, less to mess up. On the Duncan forum, P-94's aren't held in particularly high esteem, and Phat Cats have A2 magnets which make the neck very dark and bridge weak. Better sounding HB-sized P-90's are made by Lollar, and if you're on a budget, GFS Mean 90's.
  16. Depends on the model. Binding looks great on LP's and 335's, but I don't like it on most SG's. But whether you like it or not, it's probably not a deal breaker either way.
  17. +1. I have a lot of Epi's and mid-priced imports, and have upgraded the PU's in all of them. Big improvement in clarity, definition, and depth. Does more to improve the tone than everything else put together. The weakest link on an import is the stock Asian PU's. At that price-point, they're just not made to compete with high quality PU's. Before you buy any PU's, take a look at Seymour Duncan's PAF's, especially their Seth's (which is the most authentic PAF reissue you can buy).
  18. Agreed. The annual rate of increase to go from $400 to $600 over 40 years is nothing to brag about, and that's if you don't play it much and put wear on it. I don't think the Vintage models are necesarily made of 'better' materials, just different construction. However many pieces the neck has, it's probably all the same wood. Nice veneer flame tops add to a guitar's value (like on LP Stds), so veneer in itself isn't necessarily a downside. Tonewise, a one piece neck may be a little better, but you can get far more improvement there by upgrading PU's. To me, neck binding looks out-of-pl
  19. The difference between this G-400 and the hundreds of thousands of other G-400's out there, is insignficant. Cheap Asian PU's are cheap Asian PU's; they're all 'designed' in the USA, that's where humbuckers were invented. They're also the first thing that goes when you want to improve the tone. Try selling a used set of them on eBay and see what you get for them; lunch money at best. Like you said: "Vintage models should always sell for more than a typical G-400...even though they rarely do." That pretty well sums up the collector value part of this thread. If you want an Epi SG tha
  20. Back to reality: That's rare with an Asian Epi. Only a very few models will do that, like the SG's with maestro vibrolas. Yours isn't much different from the other G-400's, not enough to get anyone excited. With Gibsons it's another story, there's hard core collectors and big money thrown around for oddball models, but they cost MUCH more to begin with. Don't expect Epi's to go up in value, or even retain the original price. Look at what you paid for yours. Good price, but not at all uncommon. I've bought a number of Epi's, most are limited editions, and paid some pretty low prices for t
  21. Depends. Honest answer is if it's a bolt-on neck, it's an entry-level model and so-so quality. If it's a set neck SG (G-400) that's a very good price, and a well-made guitar. I have a few G-400's and like them a lot.
  22. +1. I have a P-93, and have no tuning issues with the Bigsby. Like you, I put on a roller bridge, as the strings aren't going to move as freely with regular saddles. Works great. I also have a 1990's Casino in ebony, that is a great guitar (no Bigsby).
  23. Not really, if you read my post (above). String is not the best way to get the pots back in place, you need something stiffer, like wire or aquarium tubing. No wonder why some guys struggle with this. My first rewiring ever was putting a couple push-pulls in a 335, and it only took several minutes to get them all back in. Then I talked to a friend who said he spent an hour trying to get the pots back in his 335 using string. Why make it harder than it has to be?
  24. This is the typical Gibson/Epi wiring it's called 'dependent volume controls.' I don't care for it, as you can't blend the PU's. What I do on all my guitars is rewire them for 'independent volume controls' which is very easy to do, all you have to do is switch the lugs a couple hot wires are on (grounds stay the same). Looking at the bottoms of the volume pots: Dependent volumes - left ground, middle toggle wire, right PU and tone pot wires. Independent volumes - left ground, middle PU and tone pot wires, right toggle wire. That's all there is to it. You're only moving the h
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