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Al Watsky

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About Al Watsky

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  1. Its fiber compression. Your not going to be able to adjust a soft neck with the rod. Until someone tortures that stick. (neck) Its unfortunate but happens. In the after market , the non warranty , second owner/vintage world the problem is addressed with heat treatments and or a "pull and plane" removal of the frets and leveling of the board and a refret. In some cases folks will replace the whole board, especially with nonadjustable acoustic necks, classical's and early French guitars with no rods or fixed rods. In the OP's case a return to the factory is justified . There are soft necks out there friends. Be not afraid !
  2. I think the LC model 335 is close to the mid to late 60's spec. A lefty would be custom custom order I bet. Good luck. I know some other thumb over players who are fans of that neck.
  3. How about a set of stock Gibson pickups. A set 490's Or you could search up a set of T tops used. Those sound good through a Vibrolux. Anything much hotter than 7.8 k is going to be too much in a full archtop. You can do 8.2 or so in the bridge if you need that sound ,because the location of the bridge pickup rolls off lots of the lows , but for a clean Jazz tone lower output works nicely.
  4. Chris is a gas ! The Van Epps Damper was made of aluminum. So there will be a weight difference.
  5. You can choose what ever you like really. If you can see how many and where the existing screw holes are, match that, then worry about cosmetics. Any tuner you install will work. I think the set I've seen most on that guitar in that year was metal tulip button, I've recently seen several of that year range with what looks like a kluson tuner. Unfortunately the reissues do not have metal knobs. Really its about matching the holes. Later on Schaller's were OEM on Gibsons. You can tell by the screw hole and back plate pattern that will be pressed into the finish on the guitars headstock which one you had of the stock tuners have gone missing.
  6. I think the 3 piece maple is stronger than the Mahogany , they can still break its true, but by golly it would seem the have less of a tendency to break. No science just personal statistics. In over 20 years I've done dozens of one piece Mahog. headstock cracks and only two 3 piece maple. I love Gibson guitars. You just need to be careful with those one piece necks IMO. :mellow: Part of the flaw in my independent "study" is that there are less maple Gibsons out there. BTW, HoRo's mostly come with 3 piece maple. The one I have is orientated this way, 2 outer segments are sawn on the quarter and the center is just off flat sawn, its actually what we call skew sawn. Its real stable and on a bench flex test proves to be generally more rigid than most , especially in the area of the headstock. Lets just remember that neck wood species also directly effects tone. So builders need to stick to the wood "formula" to get the tone and balance their customers expect. Like we used to say down in Rural Retreat , "that boy could tear up a tire iron". Some folks haven't learned how to handle musical instruments. Don't drop your guitar !
  7. Factory stuff is factory stuff. I like your take on it. But I think it does have to do with the mind set of the buyers for guitars to some degree. You couldn't sell the best guitar in the world if it had a crack. Buyers are very shy in the guitar market. No reason to buy a broken guitar no matter how well repaired for the same $$ as an unbroken one if the instrument is available. Common sense. I don't buy the 50% thing though. Thats just not right. 25-35% , a chubby retail margin , but not 50%. Hell , we're talkin' about Gibson guitars right ? I pretty much try to only buy 3 piece maple necked Gibsons.
  8. I think minus 35% to 50% all based on the rarity and playability of the instrument and the quality of the repair. For some factory run thing 50% for sure. In my estimation the numbers change for rare vintage things that have been perfectly repaired. In the real world of actual vintage violins for example head stocks are often grafted to new necks. Common practice for MANY 18th century instruments. Such instruments sell for hundreds of thousands to millions of dollars. People fake neck grafts to make the instruments look older and more desirable. The guitar market is immature and has not taken into account the recent advances in repair techniques. IMO-YMMV
  9. Remember a 335 isn't shielded so it will ground out when you touch it unless your wiring in your house is perfect. You don't want to shield a semi hollow. Back in the day the 50s and 60s you would see some models with shielding cans on the pots and output jack. Its more parts so more expensive and also makes the guitar much harder to service. Its not a defect.
  10. Old school fix is to bend the retainer in between the screws. Leaving the wire in position, using a small machinists screw driver push directly down on the wire till it bends. Do that between the screws. It will tighten up the retainer and stop the vibrating. You can also remove the stock wire , which is very thin and replace it with a piece of wire from a chrome paper clip. The standard size fits the holes , you copy the bends in the stock wire and using a needle nose plier and the rather soft paper clip wire , make a new retainer. The clip is much heavier than the stock wire and simply will not vibrate. I like the simplicity of doing a bend mod on the stock wire. Curls up the retainer though, so when you need to replace the saddles you will work harder to replace the retainer because of the bends. But making one from a clip or tinned copper wire of the same size as the hole in the ABR works fine. Is this too much info ? Ha ha , Cheers!
  11. Hi No frustration. Just airing the topic so there's more understanding of it. Every string needs its own setting for height. Factory setups on the "big" strings are left high and I agree with that , its good for several reasons. In practice nuts are most usually moved forward to correct sharpness. The nut then adjusted slightly higher for the trebles and about the same for those pesky larger strings. The nut can be tweaked back slightly under the smaller strings if necessary , but on steel strung guitars its usually unnecessary. YMMV Its good that people know there is a choice involved. Cheers !
  12. I'm not sure I understand the point of your quoting my post .
  13. FWIW, Thats typical and likely has to do with the coils of the individual pickups being intentionally slightly mismatched in ohms to allow for a good high frequency response. When you switch to middle position you have 2 sets of matched coils in proximity to each other and the noise is canceled. I by way of confession am no electrical expert, this is just such a common observation that I've had to hatch a theory. Usually the bit of hum is at such a low volume that its what I call a "practice room problem" you will not hear it under normal circumstances , say for instance when you are actually playing the instrument. You hear this with most humbuckers that don't have matched coils, which is a standard practice these days as players complain of the humbuckers being to "dark" sounding or "muddy" if the coils are perfectly matched. Cheers !
  14. Folks always advise the poster with intonation problems to lower the strings in the nut slot. Not everyone wants the lowest action possible at the nut, for various reasons. Sharpness at the first fret can also be adjusted by changing the take off point of the string. In other words moving the nut. Until the issues of player preference regarding string height at the nut is addressed the "setup" is incomplete. If your "tech" can not make the guitar play in tune , you have the wrong tech. Most commercial factory made guitars are made is such a way as to force you to lower the nut height for first fret intonation to the point that any forceful picking results in mechanical noise on the open strings. Thats not acceptable for players who use the whole instrument and want the full range of instrument dynamics and tone. Nut placement is simply a part of a "true" professional set up. Its a matter of the tech. adjusting the instrument to the players needs , not the player adjusting to the instrument . The store "box boy" will not be able to adjust an instrument for actual professional use. Most amateurs will not require an instrument adjusted for professional playing, in fact they likely would not be able to play an instrument set for a professional. Which is why companies set them as they do. They know who buys the instruments they build. The hobbyist. The amateur with perfect pitch or even good relative pitch needs to speak to a professional who is able to balance the first fret with the other ranges of the neck as regards intonation . If you can't play an A major chord at the second fret and be in tune with an A major chord played at the 14th fret your guitar is not adjusted correctly. No amount of "tinkering" will allow you to play a first position E major followed by a C major with the G string in tune unless the nut is adjusted for placement and height. Remember the factory knows what its doing and how to do it. The instrument is set for the average player taking into consideration that any new instrument made of wood will move a lot in the first year of its life. Issues of intonation and pitch vary with the player and instrument. Later production is much closer to ideal than older production in this regard. If you like a low action most factory product will allow for that. People who like medium or higher action at the nut will be forced to make adjustments or suffer the consequences . Cheers !
  15. Lots of folks do not know what they are looking at.
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