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Everything posted by SNick

  1. I have my eye on a Joe Pass Cherry Burst from the 2004-5 era. I have been away for a while.
  2. More likely the strings reacting to your skin. Ether the oils or perspiration. Normally rosewood is not tinted.
  3. Tough problems are just that. Try to find out what it is NOT. Dampen the strings above the nut and below the bridge with yarn or something woven between the strings. Chapstick the nut and bridge saddles. Make sure the wiring inside the guitar is secured to the top, small strips of gaffers tape work well. Tighten Machine Head screws and nuts. Switches and output jacks secure. Check under pickups for items "lost" like a pick maybe. Tailpieces loose? That's about all I got.
  4. I have a 2010 LP +Top with the Classics. Neck is about 8.4 K Ohms Bridge is 13.4 K Ohms ALNICO 5 magnets. Very clear on both neck and bridge pickups. Bridge is really bright on mine. Epi did a good job on them.
  5. I have found that GHS Boomers are a bright toned set of strings. You might want to try those.
  6. Peavey had a black leather strap out a couple of years ago that was 3 inches wide for about $12.00. Just right for those top heavy babes.
  7. Adjust the pole pieces up closer to the strings. High E turn the screw one full turn. B turn the screw one and a half turns. G and D two full turns. The A gets one and a half turns. The low E leave where it is to knock off the bass. That should present the pole pieces at equal distance to the strings for the neck radius. If after doing that and adjusting the tone setting on the Amp, your still not getting your tone - It's just not there.
  8. I have never held the belief that one amp set the same way can accommodate a multitude of different guitars successfully. I have three Fender Strats and each one needs my amp setup differently. The bridge pickup is already going to be brighter than the neck pickup so..... Tune your amp for the neck pickup to sound as if it's the lead pickup. That should make your bridge pickup brighter. Then use the bridge tone control to dial it back.
  9. GHS Boomers strings are bright so don't get those. Ernie Ball Slinky's are a middle type of tone. Size 10's are the modern standard for your LP. You can go up in size for a darker tone to 11's. If your hands are strong even 12's would be OK. I am only familiar with about four brands of strings. Nothing in the real dark area. I have tried some Flatwound Ernie Ball 11's years ago that gave that dark tone to a hollowbody I had. I have stuck with the Ernie Ball's and GHS for a long time now on a couple guitars I have because I like the sound of them better than the rest.
  10. That is one perfectly good guitar as it is now. A good setup, as others have stated, is the only upgrade needed. It's really great to own and play a guitar without having to mess with it. Thank you Epiphone.
  11. Why did you keep it. What is the reason you did not send it back. Post some pictures of the guitar please..
  12. Contact the seller and inform them of the problem. Ask them to replace it. The nut should extent to the entire width of the neck evenly on both sides. I am hoping you did not order a blemished guitar. Does it say used on the back of the headstock?
  13. Take it to someone who can do a setup on the guitar. That way everything will be ready to play and adjusted properly. Do that before you start replacing parts. Replacing parts should be that last thing to do on that rig.
  14. Lets make the tone a little brighter on the Neck and Bridge pickup of your Les Paul. The Stop Tail Piece Most of your STP's (Stop Tail Pieces) are screwed down tight to the body of the guitar. Believe it or not this is contributing to the dark tone of both your pickups. I did not buy it myself at first but then I said OK lets give it a try, and raised the STP up about 5 screw turns. This gave me about ½ inch height. I noted the slot orientation before beginning and screwed each post up and stopped at the same orientation that I started with. I did this to insure the height of the bar was the same for each side. I re-tuned my guitar and yes it sounded brighter. I actually had to turn the tone knob down a bit to get the same sounds as before. Pickup Pole Pieces Next I moved the pole pieces up to fit the 12 inch curve of the neck and bridge to help balance the strings. I measured the height differences of the bridge saddles, from low E to the A there is a 1/2mm (roughly 1/32 inch) difference. Between the Low E and the D there is a 1mm (roughly 1/16th inch) difference in height. We end up with the same measurements on the G B and high E strings because we have a radius to match. Initially, you can leave the two E Pole pieces flat to the top of the pickup just the way they come from the factory. More on this later. Now on the A and G pole pieces raise the screws up until your 1/2mm or 1/32 up from the metal cover. Then raise the D and G pole pieces up until your 1mm or 2/32 of an inch above the cover. Yes, the pole pieces are low but the tone has changed just a bit. The Mids and Highs are a bit clearer. Now you can fine tune them to find the clearest tone. You can continue to raise all the pole pieces a half turn at a time to fine tune your tone. Remember to lower the pickup on both sides when you do raise the pole pieces to maintain your string balance. Lower the pickup until the tone clears up and raise the pole pieces to get your gain back. I ended up with about 1 more screw turn up on all the pole pieces and the pickup height set at a little less than factory specs to knock off a bit of bass. Factory settings are Neck 3/32 base side 2/32 treble side. Bridge 5/32 bass and 3/32 treble side. I am no more than 1 full screw turn lower on my pickups. My neck pickup actually ended up sitting a little bit below the mounting ring. I now have a neck pickup that is clear in tone and I can play lead on it with no problems. The Bridge has a lot of Mids and Highs. I have both volumes set on 8. Bridge tone is on 5 or 4 most of the time. Neck tone sits good on 7 to 8. I have the 2011 version of the Classic 57 Alnico's in my Epi Les Paul and I am one happy owner. Your results may be different from mine. Edited to add: Just a bit of an update. I turned my Neck pickup around so that the screws are away from the fretboard towards the middle. Nicer middle pickup type tone, no murky sound, very well defined individual string tone. I also lowered the string height (action) a bit. Took about 25 minutes in all to reverse the neck pickup. You have to take the pickup off the ring and turn it around because the ring is angled front to back. Watch the springs they can be a bit difficult. After reversing the pickup, I screwed the bridge back down to the body and checked the tone. I will leave it there for now. I can play the neck volume on 3 and tone on 5 with good results.
  15. This is not my original work. I have just edited it to make it a bit more understandable to my own mind as I am not used to the whole "Modern Wiring" 4 control thingy myself. I come from a world of Strats. To me, "Modern Wiring" is Gibson's way of trying to create multiple and varied tones from the two pickup guitar. I still feel that Leo Fender got it right.
  16. Welcome! Hope you enjoy your stay. Nice Dot!! ("I can stop drooling now"). I have about 4 or so Strats myself. Nothing to be ashamed of, I go to the meetings all the time. You know the ones where you stand up and say Hi I'm STATE YOUR NAME and I'm a Strat Player. Then everyone gasps!
  17. It took me sitting down with guitar and amp and a printout to fully understand the whole "Modern Wiring System". I still get in trouble with the settings. I just need to have another go at it and write my settings down. The settings for both the Amp and Guitar so I can use them again without forgetting. At my age it's better to write them down.
  18. This is a re-post of a previous post edited for clarity. Working with Humbuckers in a guitar with 2 Volume and 2 Tone controls First, your volume controls do not just control your loudness, but also your level of distortion (‘gain’ or ‘overdrive’). If your guitar has modern wiring, lowering the volume will also reduce the available treble, as if you had turned the tone down too. If you have 1950s wiring this effect is far less prominent. Most newer Epiphone/Gibson guitars with 2 volume and 2 tone controls have modern wiring. Secondly, your tone control not only cuts your treble, it also reduces the amount of ‘space’ your guitar seems to take up in the mix. Turning your tone down can effectively pull you ‘back’ into the mix. Enough basics. Here’s some pointers. EQ Your Amp for the Neck Pickup Most of the time you’ve probably set up your amp to get the best tone from the bridge pickup. We need to reverse this and set up for the Neck Pick pickup, so lets try this instead and see what happens. 1. Turn all your volumes and tones up to 10. 2. Switch to the neck pick up. 3. Adjust your amp so you get a good soloing tone for the neck pickup. Do this by turning up the treble, then cutting the mids and bass if needed. 4. Switch to bridge pickup. This will now be too bright and Ice-picky. 5. Tame the overly bright bridge pickup with the tone control until you’ve got a good soloing tone. You will now have your ‘boost’ sounds. Now turn the bridge vol down (about 75-80%), until you’ve got a good crunching rhythm sound. If you have modern wiring you may need to turn up the tone a little at this stage. You could now play the rhythm on the bridge, and switch to the neck for the solo. Solo on Bridge, cleans on Neck Turn up your bridge tone and volume. That’s your solo sound (ice pick and all). Turn your neck vol down to about 50%. If your amp is any good, that should be nearly clean. If you’ve got 1950's wiring, it won’t be muddy either. You may now play the intro to “Since I’ve Been Lovin’ You” on the neck pick up. Switch to bridge for the signature lick. Back to neck, or turn down bridge to 50-60%. For a more sensible bridge pick up sound, just turn the tone down a fraction to clip some of the hairs off it. If your amp is good, it should be sensitive enough to clean up when you turn down, and also to clean up if you back off with your right hand and pick gently. Use both these effects to control your tone. Middle positions Leave your bridge in its rhythm setting, then switch to middle. Now turn down the neck pickup volume to nearly zero, then slowly turn it back up (to about 50%). Somewhere across this range you’ll hear three fairly distinct tones. It’ll start out sounding like the bridge on its own. Next, it will fill out (i.e. get some extra bass), and it might do this quite suddenly. This is a really useful sound for soloing, because it basically sounds like the bridge pickup, but it’s fuller and meatier without being in any way muddy. As you keep turning up the neck volume it will start to sound more like both pick ups. This can be sort of nasal, but quite good. Once you get both pick ups to the same volume (~ 75%) you’ve got the classic middle sound. Many people find this a bit muddy, but if you EQ'd the amp for your neck pickup, you should be OK. Before I forget again, there's one thing about the middle setting that I forgot to mention. It’s a lot easier to use than it sounds to describe it! If you set your neck pickup volume so it’s basically clean (~ 50%), and then set the bridge pickup volume to about 75%, that will give you the “sounds-like-the-bridge-pickup-but-fuller tone”. It is a good rhythm or lead sound. From that basic position, if you want to get a boost, all you have to do is adjust ONE volume control up to 100%. Either will work. If the it's the bridge volume, you get the biting sound, if the neck volume you get the fuller sound. When you’ve finished, simply turn that volume back to where it was. In other words, once you’ve worked out your presets, using the Les Paul this way is very simple. NOTE: What is meant by “good soloing tone” is that it has enough treble and high mids to be heard through the mix. Like the sound Gary Moore uses for “Still Got the Blues.” The beginning and a fair bit of the solo are neck pickup sounds. Remember that your neck pickup is darker than the bridge pickup. The sound you get with the bridge volume and tone at “10” is the brightest sound you can extract from your guitar. If you EQ your amp so the brightest possible sound you can get sounds balanced, the neck pup will be muddy. This is problem a lot of people complain about, because the don't EQ for the neck pickup. With the tone control you can cut the treble. But you can't add it if it's not already there. So... Remember, EQ your amp so it's as bright as you need it to be on the neck pickup. Then your bridge pickup will seem too bright and harsh, but you can tame that with the tone control for the bridge. That's what I meant when I said you can cut the treble, but you can't add it if it's not there.
  19. Hey Joe, You remember Leo Fender could not play either. Look what he did.
  20. I love seeing all those "modified" guitars when they end up for sale. The owner usually has screwed them up and sold/lost the original parts. When they realize it sounds like nails on a chalkboard or the low rumble of an elephants stomach then call it a crap guitar it makes me laugh. The sad part is they blame it on the manufacturer. THEY ARE NEVER IN THE WRONG! JMO
  21. I have had a lot of Strats, and still do. I would be wary of the Real Late 60's to 85 Made in Japan Strats. Not the best of Fender production CBS Owned Fender at the time and tried to cut corners and save a few bucks. The 50's, early 60's and from 1986 till today you just won't really find a bad year for a Fender Strat. I don't really consider Squier a Fender Strat but there were and are a bunch I would not even consider. The Vintage Vibe line of Squire is the exception. The Japan and Mexico made ones are OK. American Strats from the year 2000 on are a bit better that earlier models. Improvements were made in 2008, and again in 2012. Each successive model was better than the last. American bodies are made from 2 to 3 pieces of wood Alder or Ash. Mexico made Fenders are pretty good. The MIM was virtually the same from the first day of production until 2006. The models made from 2006 on are really well made and can rival some American made "Road" Strats. The biggest difference is that the Necks and Pickups on the Americans are better. The more expensive the Mexican Standard model IE Deluxe Player, Classic etc. The better the Pickups and quality. I have one MIM that is a FSR (Fender Special Run) that has a clear finish ash body, Alnico Tex-Mex Pickups, tortoise pickguard, Large bridge block, Etc. That really is a great player. Fells real nice, tone is bluesy and low with screaming highs, mid's are full on. A real player to be sure. The Mexico body's are made from several pieces of Alder wood, 4 to 5 or more, and the tops and bottoms are veneered. Some are made of 3 pieces of Ash also. That would be my assessment of the Fender Strat line. You can hardly ever go wrong buying an American Strat. I have also never played two Strats the sounded exactly the same, each one is different. It is the most versatile, comfortable instrument ever. IMO.
  22. I had a similar problem - occasionally the switch would not work in the treble position. Drove me crazy for a few days. Finally I took off the switchplate and had to cut off one strand of pickup wire that was touching the wrong piece of metal. I don't know what happened in the tinning process but someone missed it. No big deal once I found it. No other problems since - it's been 11 months now.
  23. That's normal. It's just how it works.You need some volume on both to make it work.
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