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Jayyj last won the day on March 7 2017

Jayyj had the most liked content!


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  1. The first colours were blonde and sunburst for the 335/345/330 and cherry for the 355, with cherry rolled out to all models in 1959 and blonde quietly retired (except for custom orders) by the end of 1960. When I think of 335s cherry is the colour I see them in. The other common colours for vintage 335s were cherry sunburst from '65 onwards, sparkling burgundy in the late 60s and walnut and wine red in the 70s. The odd black one also shows up from time to time. Pelham blue was a popular custom colour in the 60s although it's more common on SGs and Melody Makers than it is on semis. Most (thinking about it, all the ones I can remember seeing) of the Pelham 335s I've seen have been Trini Lopez models with the Fenderish headstock and diamond f holes. Pelham does seem popular on the reissues though.
  2. I'm based in Manchester and work in the guitar trade so I can give you a few contacts. Glen, who works out of the shop I work for in Manchester - Forsyths on Deansgate - is a great tech. Since I have a business link with Glen, in the interests of objectivity I can also recommend a couple of others I have first hand experience of. Steve Robinson who has the www.manchesterguitartech.co.uk website: he's based in Sale and is a fantastic repairer and a lovely guy to deal with. He's always been my go to guy for lacquer touch ups and he usually had something interesting on his bench when I call in. Matt Ryan is out Rochdale way and has done a fair bit of work for me over the years, he's great. He used to be the house repairer for Sounds Great. I've always heard good things about the guy who has a shop in the PMT store in Salford although I've never used him myself. Hope that helps!
  3. I already have the three Gibsons I need: a '26 L-1, a '29 TG-1 and a '39 L-00. There are a couple others I'd quite like to own but those three are the ones I'd hate to be without.
  4. I'm sure I remember an L-2 with the sparkle binding? I nearly bought one about 15 years ago but ended up going vintage.
  5. Gibson's standard knob from the start of the 60s was the reflector or top hat type, which was a short knob with a wide silver (or gold if the hardware was gold) insert. In 1966 Gibson began to phase out the reflector in favour of the witch hat type, which are tall and thin and look like the knobs you see on blackface Fender amps. However, being Gibson they continued to use reflectors until they'd worked through the bulk of their old stock, so they're pretty standard on a '66 and common on a '67. By then end of '67 the reflectors were mostly gone.
  6. There are two versions of the ES330: the original where the neck joins at the 16th fret and the late version (also reissued as the 330L) where the neck joins at the 19th fret. Most 330s and Casinos are one or the other, the only exception being some versions of the Japanese and Korean Casinos where the neck joins at the 17th. Gibson have always specified the neck joint as being, logically enough, where the wood of the neck ends and the body starts, but that doesn't stop a lot of people measuring from the end of the heel (which would be the 15th fret) or the beginning of the cutaway. But if your guitar is a 1967 it will have the 16 fret neck join.
  7. I'm a dealer for Atkin so I've played a few of the relic models. I like Alister's guitars anyway but I think the relic ones I've played are the best he's made. The relic effect is tastefully done on the more recent ones, with the gouges and scratches dialed back to a minimum and mainly just checking in the lacquer to give the impression of aging, and by not trying too hard I think they look a lot more convincing than the typical electric relics. A lot of work went into getting a lacquer that would easily check and it's a thin coat compared to the standard gloss models. Take it with a pinch of salt if you like as I do have a vested interest in selling these things but to my eyes they look great and, more importantly, sound exceptional. As an owner of an original L-1 the Atkin version is a good impression of one but it has a Martin style X brace under the bonnet so it doesn't do the bright, snappy sound of an H or A braced L-1. It's not that close to an L00 either - really it has its own thing going on.
  8. Jayyj

    Gibson Lucille

    To be honest I'm not seeing any red flags except for that control cavity. I think your worst case scenario is someone has done some wiring work and somehow damaged the edge of the cavity, then tried to tidy it up in the loosest sense of the word. I've seen fake Lucilles but they've been pretty obvious ones - I don't think you need to worry from that perspective.
  9. Jayyj

    Gibson Lucille

    Here's a link to a photo of a Lucille cavity. The wiring is modified but you can see the same brown and green wires and the same part code on the varitone which is good news - but look how much cleaner the edging is. http://www.manchesterguitartech.co.uk/2012/02/17/gibson-lucille-varitone-true-bypass-modification/
  10. Jayyj

    Gibson Lucille

    Something is definitely not right in terms of the routing, which looks like someone has taken a rasp to it - the factory rout would have clean, straight edges. The wiring and varitone look right as far as I can remember but the pots look like minis which I wouldn't expect in a Gibson. Can you post a few more pictures showing the whole guitar?
  11. The L1 variant that Robert Johnson was photographed with has to be high on the iconic list.
  12. Over the last decade I've gradually moved from Gibson and Martin across to mainly playing a couple of Fylde guitars, which are made in small quantities in the UK. I used to be a dealer for them and I must have played over a hundred in the years I was selling them - the consistency from one to the next was in another league to that of the large US brands and that factor made it much easier to order one to be made for me. We talked about what models of his I liked and what wood combinations would be options, and I took him a 1930s L00 that he copied the neck profile from. It came out pretty much perfect and certainly not a guitar I would ever want to part with. I have two,the other being an older one that I don't worry about taking out and about so much, although my main gig guitar is still a Gibson. Resale on boutique guitars depends on supply and demand - if a maker has a lengthy waiting list as with Fylde then resale can be extremely strong, where as if they're pushing to increase their presence in the market and sending a lot out to dealers they're likely to fare less well on the second hand market. Boutique guitars are a niche market and they're generally something that sell far better with a dealer who carries a range of stock to compare and contrast and has an established customer base than they do on the general market. I also think boutique brands suffer more than mainstream brands when the economy is struggling - there's a definite pull back towards established brands when money is tight and people are worrying about what resale potential their purchase might have.
  13. The F holes on later 355s are bound in plastic rather than painted - you'll see white paint on early natural finish 335s but the look is different. I can't remember the exact year they started doing it but it's definitely late 60s. The F holes on 3*5s get larger in 1969 anyway and I wouldn't be surprised if the binding appeared then. If the one you're looking at has a 1 9/16th nut and no binding in the F holes you're probably looking at late 1965 to 1968. The serial number will help pin down the date, also earlier guitars will have reflector knobs and later ones witch hat and the pots will have date codes on them that will usually show them to have been made within a year or so of the date of the guitar.
  14. Jayyj

    1959 ES-175

    It might be a tough one to track down. You do occasionally see husks (neck and body without any hardware) on Ebay as PAF loaded ES175s are prime targets for people looking for donor guitars for Burst conversions and replicas, so it's possible you could pick up a neck that way but likely to be an expensive option and I don't remember ever seeing a neck on its own. What issues are there with the current neck? The other avenue might be a rebuild of the original neck by a good repairer. Depending on the state of the original there are fairly advanced techniques for repairing nasty or previously bungled breaks - have a look in the 'items for luthiers' section of Frank Ford's www.frets.com website for some examples of amazing restoration work. If the neck is really far gone a replacement neck by a luthier would also be an option, potentially keeping the original fingerboard, headstock veneer and trussrod.
  15. Yeah, I don't know when the start and end points are for the kerfed bracing but I would guess it was a 70s thing. One of the 175s I remember with a collapsed top also had the pantograph logo which was '68-'70 so it could have been a little earlier - I don't know for sure.
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