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Everything posted by Hyote

  1. I have a set in a PRS. I think they're fantastic. Excellent tone, along with plenty of low impedance signal power to the amp. You may or may not know that there are also pads on that bottom of each pickup that can be soldered to additional switches to do some very useful coil splitting options. Fitting a battery is a problem in my specific guitar, but would not be an issue for a Les Paul. Theoretically, low impedance pickups might not sound very good with certain vintage effects, like maybe a germanium fuzz pedal or something, but I can't imagine too many people would care about that. My only other negative comment is that you're stuck with the Fishman cover design - no way to hide a set of these behind vintage looking covers.
  2. Mine is excellent. Actually much better quality than I expected, after having owned several low end Les Pauls over the years. My understanding is that the static noise issue came from a a particular batch of control cavity covers that were made out of a type of plastic that really attracted electrical charge. Apparently, you can call customer service if you have the problem, and they'll send you a new one. I definitely confirmed that rubbing the cavity cover will cause pops and scratches, especially on very dry days. But, it's not bad enough that I've bothered calling for a new one. Mine has an incredibly strong grain pattern. Nothing I've seen before in a typical mahogany guitar. It's also extremely resonant. No problems at all with the hardware or electronics. Good tuning stability. Overall, I'm very pleased.
  3. According to this, 43: http://www.gibson.com/Products/Electric-Guitars/2016/USA/SG-Standard.aspx
  4. Been playing for about 30 years now. I tend towards lower output humbuckers with as much clarity as I can get. Not so much into the blistering output thing. As a point of reference, most of my Gibsons have had 490/498s or 57 Classics, only because I can't afford something like an R9. That's the tone I prefer. The cool thing about Fluence HBs is that being active, you don't really have to give up anything. The Classics have the kind of tone I associate with PAF-style low output pickups, but the actual signal strength available is enormous. So if you really want to drive an amp hard, you can, while still having the clarity and snap you get from a PAF type. I got my set for $150 on eBay, and put them in a relatively inexpensive PRS. I like them so much I'd consider a set for a higher end Les Paul now, or perhaps an SG.
  5. Yes, I have a set of the Classic variety in a PRS Bernie Marsden (very similar to a Les Paul.) They're fantastic. Don't think I've ever been happier with a set of humbuckers, ever. They also give you plenty of options if you're willing to wire up switches for them, such as two different main voices for each pickup, useful sounding coil splits, and a high cut
  6. Hyote

    490R & 498T

    I had a Les Paul Smartwood that I bought new in 2003. Had 490/498s in it, with 300K pots. I never really loved that combination tonally. It sounded kind of dull and lifeless to me. But, the guitar developed a serious neck twist over the years, and ended up being replaced with a 2016 SG Standard T, also with 490/498s, but 500K pots. The SG sounds terrific. Utterly different than the LP. It's all about how all the parts work together. The LP may have sounded better if I'd changed the pots to 500K (at least with my amps, and my playing style), but we'll never know. As it turns out, when I opened the control cavity on the SG, I discovered that those pickups are 4 wire, with quick connectors plugged into a PCB. Meaning it would be easy to wire them up in the same sort of circuit as a new Studio, with the "tuned coil tap" option. If I can find a set of connectors that fit the ones on the ends of the pickup wires, I can just drop the PCB out and save it, with no permanent change to the guitar. I could also try putting my set of 54 wire 57/57+ pickups that I pulled from a different guitar, just to see how they compare to the 490/498s.
  7. Personally, I adjust the stop bar to make sure the strings don't contact any part of the bridge other than the saddles. Sometimes that requires raising the stop bar a bit, depending on the basic height of the action. Even string gauge can effect that. If you change string gauges, and have to move a saddle towards the nut to fix the intonation, the string might now contact the edge of the bridge body. Which, in my case, would require me to raise the stop bar. I don't really consider this a quality issue though, it's a matter of setup preferences.
  8. I got a 2016 SG Standard T a couple weeks ago. It's fantastic. Best Gibson I've owned in 30 years of playing. I am far happier with it than I expected to be. The quality is excellent in every way. It's the first guitar I ever bought that I didn't immediately feel like I had to tweak to be happy with the action. It's very, very resonant. I'm usually no fan of the 498 pickup, but I even like that thing on this guitar. When I get a chance I'll post some pics; it has the most striking grain pattern on the body, 2 piece I believe. As far as I'm concerned, the 2016 SG is the best ever...
  9. Isn't a new SG Standard right around $1200 street? I just got a new 2016 SG Standard the week before last, and I have to say, it's outstanding. Very, very resonant and lively feeling. Perfect setup right out of the box. I'm extremely impressed. Definitely a cut above my 2003 Les Paul that it replaced.
  10. I've got a chambered Les Paul '60s Tribute that's pretty light, at 7.3 lbs. But, to me it doesn't sound quite the same as a traditional solid body Les Paul. Not bad, just different. The other forms of weight relief, such as wagon wheel and swiss cheese, might get closer to the vintage feel. But, 7.3 is definitely a nice weight. I got a new 2106 SG Standard a couple weeks ago, and that thing just blows me away. Slightly over 7 lbs., and extremely resonant. The only Les Pauls I've ever played that sing like this thing have been either very heavy, or very expensive. The setup was perfect right out of the box, and I love the neck and the fret work. For the money, if you need something light, I don't think you can beat an SG. Of course, every time I look at that SG, I flash back to the 1970s. I get visions of a metal flake purple conversion van lurching up to a curb. The side door opens, and a cloud of pot smoke wafts out. A long-haired stoner in bell bottoms stumbles out holding an SG, and a tambourine with a peace symbol scrawled on it with magic marker. So I've been avoiding SGs all my life - I never liked some of the company they keep. If you're not of a certain age, this may not be a factor for you.
  11. A friend of mine repairs musical equipment for a living, mostly tube amps. One time about 25 years ago, a lady brought in a shorted out keyboard. High end one too. Apparently, she always stored it on a shelf, under the shelf where she kept her cat's litter box. Seriously.
  12. What kind of beer was it? Seriously, once it dries out, unless the pickups are shorting or something, you should be ok.
  13. I've lived in the desert southwest now for 10 years, where it's extremely dry all the time. Moved here from the east coast. It took several years for my guitars to stop moving, particularly the Gibsons for some reason. My guess is that their fretboards are "spongier" than my Fenders or something. But in truth, some of those also took a few years to completely adapt to the low humidity. I have a '66 Jazzmaster, and that thing actually developed a loose fret after being here all that time. May or may not have to do with humidity though. And yes, I use a moistening product on every rosewood board guitar I have, every time I change strings.
  14. Ok, found it. On MLP: http://www.mylespaul.com/forums/tonefreaks/558-wiring-library-37.html#post4549847 Looks like .01uf, or .033uf cap to ground. I've got a set of 4 wire '57 Classics lying around, but unfortunately, nothing to stuff them in at the moment. Soon as a body frees up, I'll try this.
  15. I think I could figure out the wiring. Now I just need some idea where to start with the cap values.
  16. Yeah, that's actually what we're talking about - splitting coils, not tapping really. http://www.gibson.com/News-Lifestyle/Gear-Tech/en-us/Tuned-Coil-Tap-vs-Tap-vs-Split.aspx
  17. http://www.gibson.com/News-Lifestyle/Gear-Tech/en-us/Tuned-Coil-Tap-vs-Tap-vs-Split.aspx
  18. I don't think so. I've taken several humbuckers apart before. Usually, the two coils are connected with a wire that can be accessed pretty easily once you get the cover off, and unwrap some of the tape.
  19. I read the Gibson web article from a few weeks back about how they have a new control setup for coil taps, where they connect a capacitor to the attachment point between the slug and screw coils of humbuckers. If I remember, this is the setup in the current Studio T. From demo vids on the web, it sounds a lot better to my ear than a traditional plain coil split wiring. I'd like to try it on one of my Le Pauls. Does anyone have a schematic for that circuit? I'm also interested in what value of capacitor it uses. Thanks, Keep Rocking
  20. Ok, this is a little snarky, but interesting anyway. The Vox AC-15 was a complete copy of an earlier Gibson amp. In fact, it was such a close copy that the grounding for the bass control was actually wired incorrectly. The Vox people had copied the circuit from Gibson's published schematic, which was drawn up with that mistake. Nobody realized this until the 1990's I believe. This wiring "mistake" is responsible for the unusual interactivity between the bass and treble controls of most models of the AC-15 and AC-30 So, in effect, you can go out and buy a brand new Gibson amp, but it will say Vox on it.
  21. Thinking about it a little more, I suspect I might actually sound different on a really superb R9, after a familiarization period of course. It wouldn't be the tone of the guitar per se, but more that I would start playing differently, just because it would be so much easier to make the thing sing. There are lots of phrases I hear in my head that I know I can't actually play through my current guitars. Too much work for my weak hands.
  22. I've played a whole lot of Les Pauls, and I would say that the tone is not the main thing that distinguishes the low end versions from the high end ones, at lest when specced similarly. It's more about playing feel and other subjective impressions that don't translate well into recordings, especially the crappy camera mics used for most YouTube videos. Paul Reed Smith has this theory that a guitar string can generate a certain amount of sound, and that every part you add to a guitar can only subtract from that. So it's a matter of using materials and construction methods that take away as little sound as possible. Really bad guitars simply deaden a lot more string sound than carefully constructed ones. I had a very early Squier Strat that appeared to have a body made out of several laminated planks, and I have no idea what species of wood. It sounded ok, but I kept modding it to make it better. I changed pickups, tuners, electronics, then the neck, and finally the body. Meaning the only original part it carries now is the neck plate. All of the mods made a difference, but when I replaced that heavy, dead body with a single piece alder one, it was suddenly dramatically different. Way more output and sustain, and a much more musical tone. This leads me to believe Paul is onto something. The very "best" guitar I ever played, in terms of tone, articulation, sustain, etc., was a Wildwood Featherweight Special '59 Les Paul. It was dramatically easier to make that guitar sound the way I wanted, and to control every note, compared to any of my own Les Pauls, or any of my other guitars. But, I bet it wouldn't have sounded very different from my highly modified Epiphone on most recordings. To me, it feels with low quality guitars like I'm always fighting them to make them sound the way I want them to. Good guitars don't fight back near as much. I'm sure though that the end result doesn't sound all that different to other people either way. And don't make the mistake that expensive = good and cheap = bad. I have a Japanese '57 Strat reissue that I bought for the yen equivalent of $180 that is my favorite Strat. I have others worth thousands more that don't sound as good to my ear. But they generally play somewhat better. I've got an Epiphone Les Paul that I think sounds and plays better than most Gibsons that I've tried that cost twice as much. But it isn't even in the same universe as one of those Wildwood Featherweights.
  23. You need a copy of the mighty BR1. I have one made in, I believe, 1948. Very cool amp. The BR1 was used by Danny Cedrone on Bill Halley's original recording of "Rock Around The Clock." There weren't very many built, and as far as I know, his amp is not accounted for. Meaning any of us who have a BR1 have a small possibility of owning the amp used for arguably the very first rock and roll guitar solo.
  24. I caught the '50s LP bug last year, bad. Went to Wildwood a few days after Christmas, and actually got to speak to the owner. His setup guy happened to stop in while I was there too, and he corrected a truss rod issue I was having with my Smartwood LP. For free. While I stood there. Absolutely spectacular customer experience. Then I started playing some Wildwood custom reissue LP models. Huge mistake. Those things were all incredible, every one I played. It ruined me for any lesser LPs forever. I thought I had a couple of decent LPs, but they really aren't even in the same universe as those Wildwood customs. And since I played one of mine back to back with a couple of theirs, I know it wasn't the amp, my ears, etc., etc. It's just another example of you get what you pay for. I'm still trying to figure out how to come up with enough money to buy a Wildwood custom R9.
  25. I have a GT 60's trib, and it's just outstanding. Doesn't sound anything like any my HB Les Pauls, let alone something like a burst, but that's not the point of that guitar really. The neck on mine seemed fine when I bought it, but over the last year, the fingerboard has continued to dry out. I've had to tighten the truss rod several times, and as the wood has shrunk, the fret ends have started to get a little nasty. I'll clean them up when I get a chance. But the thing just sounds terrific. Definitely a really good deal.
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