Jump to content
Gibson Brands Forums


  • Content Count

  • Joined

  • Last visited

Community Reputation

0 Neutral

About rossington88

  • Rank
  • Birthday 03/07/1994

Profile Information

  • Gender
  • Location
    Nashville, Tennessee
  1. Hey, All!! I was wondering: I'm looking to possibly refinish a guitar. Can anyone tell me the paint code to the Gibson New Brunswick Blue 'Bowling Ball' sparkle finish? The candy is throwing off my judgement of the color and I want to make sure I get it right. Thinking something along these lines ;) : http://www.ebay.com/itm/Gibson-Firebird-Custom-Shop-Blue-Sparkle-Mint-Condition-/201034742705?nma=true&si=TYPXJHh51GvlJPvDKnMslEc38kE%253D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557
  2. Triumph. Let me know how those Rotosounds work out. I've only started using my old acoustic again and I'm still using my Martin Marquis strings on it. I've used the Rotosounds on my electrics for years and I am quite interested to hear what you think of their acoustic SB's. By the way, I've got a set of Rotosounds on my Ace Frehley Les Paul that have been on there since June of 2012 and they are STILL as chimey and full of life as the first week they were on there -If THAT says anything about their longevity. Bobby
  3. Hey, fellas. Sorry for a late response. Maybe you might consider Rotosound? I bring it up because I switched over to them when Gibson stopped making my strings, the Ace Frehley (.09-.46) Strings, years ago. I have progressed a bit since then (I now use .12's on all guitars for regular play). Currently, I use their Roto Purples on my fleet but I am considering using some Top Tape Flatwounds on my ES-335. They only come in .12's but I can attest to the fact that their regular .12's bend, play and feel like .11's so perhaps their flatwounds are the same? To give you an idea of their performance, I have had a set of strings on my Ace Frehley Les Paul for the last 11 MONTHS and they are STILL full of life; Actually, they are as vibrant as any string would be after the first 3 days of play. Never broken one. Never changed them. They're still going. Just some food for thought... Bobby http://rotosound.com/top_tape.php
  4. So... Recently, I got an opportunity to play an out-of-state gig with a band. It looks like this may become a full-time gig (Touring, I mean) so I broke my Jim Beam LP out of the case and set it up and everything since it's absolutely PERFECT for this gig. I started thinking about some of the other cool-a$$ models Gibson came out with around that time like the Corvette's, the carved flame LP's, the Indian's and so on. Well, I got to thinking about the Stars and Stripes Les Paul's. In light of the Boston Marathon bombing and everything, I guess my patriotism has been reawakened and I'm kinda starting to want one. And like every other Gibson I own, I MUST know every single detail about it. I vaguely remember there being a type of colour-coding to them, if I recall correctly. There is sparse information out there so maybe this can be a fun little topic for the forum. Which one is which? I know there have been several runs... There were several guitars made ON September 11th, and those guitars had a special serial number and colour on their backs. Then came the 2002 run of 50(?), which had the Blue-backs (My FAV!!). They also had the serial number 91101 with a hand-painted sequence number underneath. There was another run with the Red-backs. Somewhere in here were the White-backs. I THINK I may have seen one or two with Black-backs??? Finally, we have the current Silver-backs. My questions are: What colour were the originals that were made on 9/11? In what order/year were the rest of them made? AND: Which ones are the Standards vs. Customs vs. Class 5's?
  5. The embossed humbuckers are your tell. Gibson only made those embossed humbuckers from 1972-1974, if I remember correctly. This jives with the headstock logo (The dot for the 'I' in 'Gibson' is present and that dot only reappeared on the headstocks after 1972.). The yellowing of the binding and the finish checking also support a vintage instrument. Check the codes on the pots for a better estimation of time. Same goes for the serial number. FYI: This information is only useful if the guitar is 100% original and somebody didn't simply put vintage pups into a newer guitar. Hope this helps!! Bobby
  6. I have personally met Rickey Medlocke (Blackfoot, Skynyrd) and I have played his guitar. I was (Still kinda am...) a Skynyrd junkie and I, along with a few friends who have been around a while, know almost everything there is to know about them. Medlocke told me personally that the Korina Explorers he has all have the VINTAGE arms. He didn't say why but I can imagine it was because the vintage ones are of a better quality. A friend of mine has a vintage 1964 SG Special with an arm on it and it did appear to be thicker than a reproduction -to me anyway. Honestly, I had a reproduction on my SG that I HATED because it was of a poor quality. If you want a new trem that does the job, be like Medlocke and buy an Axcess with a Floyd Rose. If you want a functional trem that looks like it belongs on the guitar, buy a vintage one. Hope this helps!! Bobby
  7. That model appears to be one of two things: It can be 1.) A 1968 Reissue Les Paul Custom (I'm pretty positive that was a VOS Model) or 2.) If it is brand new, it could be a Les Paul Custom in a custom colour. Right now, there is a run of 25 Customs in Pelham Blue but that colour is antiqued with means that it may have more of a greenish cast to it. There have been a few runs of the Pelham Blue over the years (Atleast according to my understanding). Unless it is specifically a 1968 Reissue, it is probably your run-of-the-mill LP Custom. Hope this helps!! Bobby EDIT: Post Script: After reviewing the pictures again, that is more-than-likely a regular custom in a custom colour.
  8. Like the title says: What was the biggest mistake you've ever made? Did you sell your prized amp? Maybe a family heirloom? Hard times force a ridiculously low price? Personally, my worst mistake was selling a 1991 Gibson Les Paul Standard in WHITE. She was easily the BEST guitar I have ever owned but I sold her as a partial trade in about 2004 because I totally HAD to have an Ace Frehley Les Paul (Which USED to be hard to come by... Grumbles .). It was an incredibly beautiful instrument and the white is evidently extremely hard to come by. To this day, I regret it quite deeply. In fact, I still look around to see if anyone is selling her so I may be able to negotiate for her return; With a sale in the Rhode Island area plus replaced tuners, a blue discoloration between frets 1-5, a busted lock latch and a certain mark below the tailpiece, I would know her if I saw her. What about you? Let's hear 'em!!
  9. @ Duluthdan: Absolutely 1 3/4" . @ jt: I adore the J55's, too. The one on the left of your picture has outstanding color; Truly the best finish Gibson ever produced was the Tri-Burst. I do like the mustache bridges, too, but I think they're a bit too dressy for the J55 for my taste. Besides, it's hard to beat the batwing bridge like the one below (If only it were darker in color!!). Though, maybe you could shed some light on one thing: In your photo, the guitar on the left has additional holes where the saddle ought to be. Did they use regular wood for the individual saddles or some form of bone?
  10. In all honesty, I couldn't afford a run of Gibson Custom Shop Acoustics on my own so I looked to an American-based one-man company (Who has since relocated himself back to his home country) to build a guitar for me... Basically: A replica of a 1941 Gibson J55 It was to have Koa back and sides with a Mahogany top; X-Bracing; Brazilian board (YES, he had Brazilian); Brazilian Batwing bridge; AJ inlays; Flower-pot headstock; Slotted headstock; Single-ply Mahogany binding on the body (Orange in color like the headstock below); Waverly's and some K&K transducers. Black in color with a vibrant tigerstripe guard in the art-deco J55 shape. He was extremely interested but needed to get his shop setup over there before addressing new orders. Still waiting. Just figured I'd share that idea with you. Picture 1 is the guitar and pickguard. Picture 2 is the color scheme. Picture 3 is the headstock (No, not a Gibson thing but I liked it. To each, his own).
  11. I don't have any guitar stories but I do have this gem: A neighbor decided that his GI-issued M1 Garand held too many memories and that he wanted to part with it. I was only about 8 but he GAVE it to me. It was all original with a 30-06 cartridge mounted in the bolt. The barrel had been sealed on it. My mom promptly sold it in a yard sale for a whopping $10 . Now for some guitar stories. They're not my stories but they're from a friend in New York. A buddy of mine found a Gibson Explorer listed for sale for about $200. He went and bought it. He still has that 1990's Custom Shop Korina Explorer to this day :). That same friend went to a yard sale and picked up a Gibson SG for $100. He still owns that 1964 SG Special to this day, as well ;). I'm not too sure how he acquired this one but he also has an original 1960 Les Paul Custom . Apparently, Gibson confirmed it as being one of only 3 in the world -1 confirmed as destroyed, 1 MIA. I'm not too sure what was so special about it... I know it had to do with the 3 pickups, no bigsby and something about the top but I can't put my finger on what. I BELIEVE it was that the guitar had a mahogany top on it, no maple, with a black finish but, again, I'm not too sure... That makes me want to call him and ask him about it again... Regards, Bobby
  12. Thanks for the responses. I'm finding that .10 gauge wound strings are actually being made... For violins. They're not being marketed towards guitarsists and such but the foundation for such a product is there. Thanks again for the responses.
  13. Hey, all. I was wondering if anyone is aware of any string company that currently manufactures strings that are all wound (By which, I mean, every string in the package is wound and not just the E, A & D [And, in my case, the G as well]). The theory behind it would be a more harmonically rich tone that is all balanced (Similar to fine instruments like a Violin or Cello). For example: I use two amplifiers to gain balance and greater bandwidth; I use all of the same type of cables to gain balance. I even had a zero fret installed on my LP during it's refret so that the open strings would have the same sound as the fretted notes. In any case, I like to have balanced sounding gear. My tone definitely gets compliments whenever I jam with a band so I would say that I have accomplished my goal for the most part. I do feel like this would be the final piece of the puzzle. I use a TON of mid-range to balance out my bright amps so the drop-off on the high-end wouldn't be a big deal to compensate for. I also use 12's on my electrics and throw them around like they're nothing (Rotosound Roto Purple 12's, baby!!) so a heavy gauge isn't a big deal for me. Can anyone shed some light on this bizarre topic? Regards, Bobby
  14. Sorry to resurrect this dead thread but I do have a link a review... The video is by Wildwood. They have individual reviews for each one of these in their inventory. I've gotta say, not only is the sound uniform but it can rival a vintage Gibson; It has the vintage low-end growl that I've only personally found in ONE 1953 Southern Jumbo and ONE 1941 J55. It is quite impressive over the internet. I would like to play one in-person to see how much it really stacks up against a $5,000 '53 SJ or $10,000+ '41 J55. The link post script is to demonstrate the vintage J45 vs. the tone of the J185 in the above link. Note the interesting and surprising similarities. Regards, Bobby Post Script:
  15. Hey Bluezguy!! I'm not particularly sure how I'm gonna do it. I've never done this type of work on a 335. I'm thinking that I am going to do things the old fashioned way: Tie some fishing line around something small and heavy (Extra bullet I have kicking around ?) and place that into the guitar through the knob holes so that I can get ahold of it through the bridge pickup hole. I'd then detach the [object] and attach the line to the shaft of the respective pot. When everything is soldered nicely, I'd place the whole assembly into the instrument and just lightly pull the strings. (Excuse the cheeky-ness ) I've never had my whole hand into a guitar but I think that's exactly what's gotta happen to make sure everything lines up properly. As far as the varitone, ipse, goes: I'm not too sure. I've seen them GLUED with a hot-glue adhesive to avoid rattling and such but I am not too sure of the substance's conductivity. I know that the caps go right onto the rotary. I think that if I measure the proper distance between the hot lead and the tespective rotary contacts, I should be able to use standard vintage-style waxed wire -in cloth- sandwhiching the resistors. My only worry is the transformer/inductor/choke. If I go with the Q-Filter: It's nice and light. If I go with the Fender (OR I recently found some by Hammond MFG.): The result will be heavy, which tugs at leads, and bulky, which clangs inside the instrument; Plus, the bulky transforer may not clear the hole alloted in the bridge pickup route . I think that the Q-Filter, though less-than-traditional, may be the more practical way to go. In which case, I will sandwhich it betwixt the rotary's pole and the ground of the closest pot and leave it hanging like the resistors and regular tone caps. Photos of the two are post script!! Also: In my previous schematic, I have a line circled in GREEN. It is a 'phantom line'... WHAT DOES IT DO?! Have you got any insight into that? Every single thing in this entire circuit makes sense to me BUT THAT. What is it potentially able to go to? DUDE!! I can't EVEN believe the talent here. In all honesty, I'm from Connecticut so I'm not-at-all used to this calibre of musician. It's unreal!! Plus, the people are unbelievably friendly Bobby Post Script: Q-Filter Hammond Manufacturing
  • Create New...