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Notes_Norton

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Everything posted by Notes_Norton

  1. I voted to leave the pickguard on. First of all, I like the looks of a guitar with a pickguard. Second of all, all my pickguards get scratched, so if I left them off, the guitars would get scratched. If you don't like the color of the PG, you might try looking for another color, or even a wood one. But ultimately, it's your choice. If you like the looks better without it, leave it off. Notes
  2. Notes_Norton

    ES 330

    My ES-330 is one of my favorite guitars. I bought it for $300 back in the early 80s. I play sax, flute, wind synth, keyboard, and guitar on stage, and since my ES-330 is now worth well over $3,000, I don't want to bring it on stage. Playing so many instruments just multiplies the opportunities for dinging up a guitar, and I don't want to ding up the 330 now that it is a collectors item. So I played a Kramer/Focus/Faux-strat on stage for a while, figuring I could still hear the single-coil pickup sound I like, and not ding up my ES-330 - but I never liked the fatter neck on the Faux-strat (feels like a baseball bat) and found muting the strings with my right hand uncomfortable on the Kramer. Plus the pickups just didn't sound as nice (to my ears) as P90s. So I traded my Kramer/Focus/Faux-strat in for a used Casino since it is the closest thing to a 330 currently in production, and I'm very happy with it. I replaced the white pick-guard with a black one and put witch-hat knobs on it so it looks more like my 330. The 330 gives me access to higher frets than the Casino (joins at the 19th -- see pictures below - note: since the pix was taken, I also replaced the white switch on the Casino with a black one). Now I have two favorite guitars, the 330 and the Casino. BTW, the Gibson sounds better as an acoustic and the Casino sounds brighter plugged in (could be where the bridge is placed on the body, or the fact that the Casino has metal bridge parts vs. nylon/plastic ones on the Gibson or the pickups are set higher on the Casino - I'm not sure) To get back on the subject, my 330 was made in 1970. Gibson didn't keep very good track of serial numbers back then, so I had to go by a lot of clues. 1) The serial numbers put it in the 1969-1971 range, most likely 69 or 70 2) "Made in USA" was stamped below the serial number making it 70 or later 3) The walnut color puts it in the same date range 4) It has a voulte on the back of the neck which also puts it in the same era. So I figured it is a 1970 with a good degree of confidence. But it took a lot of research and questions in forums, with Gibson, with the guitar dater project, and a number of other places that I cannot remember. Good luck finding the year. No matter what year you have, it's a nice axe. Picture of my Gibson and Epiphone side by side for comparison. Note the difference in where the neck joins the body, and therefore where the bridge sits on the body and where the pickups are. Notes
  3. They could also be returns that have been refurbished by Epiphone. As wastra indicated, there is no warranty on them. I bought a used (without the stamp) Casino from a music store trade-in and I love it. My Gibson ES-330 was also purchased used (also without a stamp). Personally, I'd rather buy a used guitar that doesn't have the stamp on it than one that does. Not for any mechanical or musical reason, but just because I don't want to see the word USED on my guitar. But if the deal is good, and you can inspect the guitar yourself, and you don't mind the USED stamp on it, you can save yourself a bit of money. Insights and incites by Notes
  4. The nuts that hold the output jacks in place on both my Casino and my ES-330 get a little loose from time to time. (Nothing drastic.) I finger tighten them with the plugs inserted in the guitar (so to minimize any twisting of the jacks) they but they eventually come loose again. I know that they don't need to be tight for the plug to make a good electrical connection with the jack, but just the fact that they work themselves loose from time to time bugs me a little. I'm afraid to tighten them too much, for fear of turning the entire jack and then twisting the wires inside the guitar. So I'm wondering.... 1) Is there a special tool that holds the jack from twisting while the retaining nut is tightened? 2) Is there another method (short of taking it to a luthier)? 3) Is it something I just have to live with? Thanks, Notes
  5. The songwriter and the publisher get the bulk of the royalty money - much more than the musicians. That is sad to hear. He sat in with our band in the late 60s and I remember being impressed. It happens to a lot of people as they age. I don't know what it is, do they simply lose the fire or are they so busy happily spending their money that they don't practice anymore? On the other hand, some others seem to get better as they age. I hope I am in this group. Notes
  6. More GAS than cash. Multiplied by playing sax, flute, wind synth, guitar, bass, and keyboard synth. A little cash strapped by living a happy life as a professional musician (read: underpaid) but I can justify most purchases because I use them to earn a living. Right now I'd like one each of: * ES-339, * SG, * USA Strat, * Parker PG12SB (one fine looking guitar), * circa 1960s King Super 20 Silversonic tenor sax, * Kurzweil PC3x synth, * Synthophone, * and next week's winning Florida Lottery numbers ;-) Notes
  7. I've only met one person in my life who said he doesn't like music. Doesn't like it at all. He was a nice person otherwise, and a successful Cable TV Engineer, but would turn radios off because he didn't like music. I figured he had some kind of hearing or hearing related physical/mental defect. Notes
  8. Some people just like weird (IMHO) shaped guitars. Just think of those Dean Dimebags which is about the ugliest guitar I Could think of (Of course, others have a right to think it's way-cool looking) Second to that in my list of ugly guitars is the BC Rich Warlock But I'm sure others love them. I like the LP and clones, Casino/ES, SG/G400, Strat, Tele and others, even the flying V is OK with me, but the reverse Firebird, reverse Flying V, X-plorer, Prophecy Explorer and those other guitars with too many sharp angles like the ones pictured above just don't do it for me. To each his/her own. Insights and incites by Notesw
  9. My partner's ESP/LTD has 24 frets, but I've never used them all - perhaps my limited experience has limited my use of the upper notes. I can't get them to sound all that well anyway. Notes
  10. Quite a few that others added here are ones I would personally agree with, and a few were added that I'm unfamiliar with (and plan to check out). Someone mentioned Christopher Parkening, and I immediately thought about the people he took his first guitar lessons from, Los Romeros, especially Celedonio and Pepe. (or they in the 'guitar god" status already). Herb Ellis has always been a favorite. That made me think about Jim Hall and Kenny Burrell. Someone mentioned Carlos Santana, but in my opinion, he is already a guitar hero (I love his sense of melody). Someone mentioned a few blues artists, (and where would we be without the blues?). How about the guitarist who played the classic solo in Bobby "Blue" Bland's Stormy Monday Blues? (I believe it was Wayne Bennett, please correct me if I'm wrong - if not, he should be on the list anyway). Did someone mention Albert King? Scotty Moore from the early Elvis days played some nice rock-a-billy. Someone mentioned Django who is supreme, and that led me to think Geisela Reinhardt and Ziroli Winterstein, if you are unfamiliar, search out Titi Winterstein's Djinee Tu Kowa Ziro -- one of my favorite Gypsy Jazz albums. I make it a practice to listen to various kinds of music, even the kind I don't play, because the influences seem to improve my own playing. Among other genres, I also listen to a lot of "classical" music (especially Romantic to Modern) and I figure I'm not the only one, as I hear melodies in Rachmaninoff, Tchaikovsky, and others sneaking into popular music. I also listen to instrumentalists that play instruments I don't play. Long before I picked up guitar, I listened to guitarists and that helped my saxophone playing. Vocalists are another source, I learned a lot about singing through my instrument from the great jazz singer, Mark Murphy (and others). But I'm drifting off the topic of the thread. That's all for now, I have an early gig today. Notes
  11. Who in your opinion is a guitarist worthy of greater recognition but is not generally thought of as a guitar hero A recent thread on this board pointed out that Randy Bachman of Guess Who and Bachman Turner Overdrive is a guitarist that doesn't get the recognition he deserves. I might add Terry Kath (from the original Chicago) and Joe Walsh to the list of guitar heroes of mine who don't have the "Guitar Hero" status that Hendrix, Santana, Page, etc. have. I have a few others, but I left room for you to add them to this thread. So let's hear about them. Insights and incites by Notes
  12. My first wife was jealous of my music - I divorced her (although that wasn't the only reason - I chose her for all the wrong reasons in the first place) Second wife (see picture to the left) isn't jealous at all. I made sure to pick one that was in "the business". At times I'm a bit jealous of her Parker PM-10 guitar ;-) what a great neck it has and it sounds good, too. It has coil taps so it can be a single coil or humbucker guitar. But IMHO the single coil sound is not as clear as the P90s in my Epiphone. Actually, we are quite happy together, we live, sing and play together, have similar interests and besides for being lovers, we are best friends. And that is the way it should be. Notes
  13. Although I started on drums' date=' I picked up saxophone in Junior High School (that was a loooooong time ago). I got into a little rock band -- we were terrible, but by today's standards, everybody was terrible then. Anyway, we booked a few school dances. There I was, having a great time playing music!!! And the pretty girl who wouldn't look at me in English class was making eyes at me!!! [i']And they actually paid me money for that!!!!!![/i] Afterwards, in new and better bands, I had a life in a road band, everything from small town Holiday Inns to 5 star hotels to cruise ships to warming up in concert for major stars of the day while their records were in the top 10 in Billboard. Every woman I have ever had the pleasure of getting romantic with, has been introduced to me from the stage to the audience (including the best one, my wife). I wouldn't know how to meet a woman any other way than smiling at her from on stage ;-) Trough the years I also picked up bass, guitar, keyboards, flute, and wind synthesizer. First as "doubling" instruments, and then as major players for me. Learning new skills and then being able to apply them to make music is still a thrill for me. The music business has had and still has its ups and downs, but all in all, I'm glad I chose a life as a professional musician. Insights and incites by Notes
  14. I've gotta agree with dubstar. Go to class with the guitar. Do a bit of a show-and-tell to the people in the class, explaining how the guitar is a delicate musical instrument. Set it up and do all the handling of the guitar. Explain how to handle the guitar and let them know the possible perils of mis-handling the guitar. Let them know about the great tension on the strings and the steel reinforcing rod in the neck (artists like to know what is under the flesh of a model they draw). Tell them how the body resonates with the strings, and how the all the parts are perfectly balanced to make the sound come out harmoniously. This will give them an appreciation of what they are drawing. And also, bring a second guitar with you (either acoustic or with a low-volume practice amp) and quietly practice while they are drawing your guitar. Insights and incites by Notes
  15. What else do I play? Guitars: Epiphone Casino (my current favorite guitar) Gibson ES-330 ESP/Ltd EC-50 Alverez classical Ovation/Applause (unknown model) Ephphone flat top (unknown model) my partners Parker PM-10 (very nice guitar) Bass: Faux Fender J Bass (unknown manufacturer) Saxophones: Ida Maria Grassi Prestige Tenor H.Couf Superba II Tenor King Alto Wind MIDI controllers: Yamaha WX5 Keyboards: Korg i3 Korg DS-8 Sound Modules: Roland SC-55 Edirol SD-90 Yamaha VL70-m Yamaha TX81z Roland MT-32 Korg DDD5 Peavey Sample PLayer Akai Sampler Flute: Selmer Percussion Controller: Korg PadKontrol Types of music: Rock and Roll Disco Big Band Swing Jazz Rhythm and Blues Country and Western Mambo Merengue Samba Calypso Soca Reggae Beach Music Motown Music Classic Oldies Doo Wop New Age Smooth Jazz Hip Hop Dixieland ...and one Opera Song Hey! Music is music, doesn't matter what kind. Each kind of music requires different skills and allows me to express a different side of my musical personality ;-) Insights and incites by Notes
  16. I thought about wireless for a while, but experience with a battery powered WX7 wind MIDI controller cured me of having anything to do with anything battery powered on the gig if I could help it. My old WX7 was not wireless, but was powered by six AA batteries on a belt pack. I started using regular disposable batteries, but then after throwing a few sets in the trash, I decided that I should be kinder to the environment, so I bought rechargeables. I used two sets of rechargeable batteries rotating them from night to night. I also had to clean the battery contacts at least once per week. And after so many recharging events, the batteries no longer could hold a charge long enough to last the night through. This resulted in an embarrassing situation on stage when the battery could no longer support the WX7 in the middle of a solo. Later I found out that I could get a longer cord, put the belt pack on my equipment rack, and power the belt pack with the AC mains. I bought the long cable, rack mounted the belt pack, and never looked back. Life without batteries is much easier than life with batteries. I'm sure a lot of guitarists with stomp boxes that have converted to AC Power will agree with me. Playing one-nighters for a living in The Sophisticats, I need my equipment to be easy to set up, easy to pack up, and ultra-reliable (the show must go on). Because batteries were less reliable than cable and more time consuming, I find that cables are the way to go. Of course, while setting up and tearing down every night, I do wish everything was both wireless and reliable, but I don't think technology has us there yet ;-( The "coily - springy" cord gives me the freedom of movement without worrying about stepping on the chord and pulling the jack out of the guitar, and frees me from being a slave to batteries if I would decide to go wireless. Of course, your needs may be very different from mine. Fortunately we have choices. Insights and incites by Notes
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