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capmaster

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capmaster last won the day on April 3

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About capmaster

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    Fretboard Seizer

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    near Munich, Upper Bavaria, Germany
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    music and audio

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  1. You still would have to consider that 300 Kohms pots are available with linear only. However, if you don't use tone pots anyway, there's no problem with their control behaviour at all. πŸ˜‰ My typical use of volume pots on guitars comes pretty close to your description... πŸ˜„
  2. Me too. To be honest, I liked Deep Purple with Rod Evans, Ian Gillan and David Coverdale. Three remarkable and distinctive voices I think.
  3. To my knowledge there are no 300 kOhms pots with log tapering available while 250 kOhms pots are. However, those pots will load down the pickup/cable resonance with no way back in application, so I prefer rolling down the stock tone pot a bit. It will probaly read 300 kOhms at around position 8. In case of a 500 kOhms volume and a 300 kOhms tone pot the resulting load for the pickup would remain the same with both pots turned fully clockwise. The capacitor, a 22nF orange drop, is practically full-range for the open tone pot and thus will have the same effect as a piece of wire in the resonance frequency range of the pickup, that is around 2 ... 2.5 kHz with typical cable loads of around 500 ... 700 pF, applicable for good-quality cables of 20 ft/6 meters length. Interesting though are the pot tolerances of my LP Traditional 2013. I don't know if and don't think that they were selected for their positions, but that of the bridge pickup read and calculate quite lower than those of the neck pickup. I wrote "calculate" as I didn't unsolder them but looked for the maximum reading of the volume pots along the control range with the pickup input shorted. The result is a quarter of the pot value, so four times the maximum reading is the real value. If I remember right, the nominal 300 kOhms volume pot is about 270 kOhms, and the directly measured tone pot reads about 460 kOhms for the bridge pickup. The pots of the neck pickup read much closer to their nominal values. Finally, all of my guitars including or made entirely of sapwoods went brighter with time while those with heartwoods only stayed the same. But that's a topic in itself and so I will leave it out here.
  4. Sadly I have to say that I wasn't able to find out anything more than you already did. There seem to be a few early ones with block inlays instead of dots, and the later ones came with the upper strap button at the upper bout instead of the back at the neck/body junction. However, I wasn't able to find more. My all-maple L6-S with six-digit serial number has dot markers and the upper strap button at the back.
  5. To my ears David Coverdale's voice is more bluesy than during the 1970's and 1980's. No wonder given the reason for this song though.
  6. Given my personal experiences it's the guitar, not the pickup. The Classic '57 Plus is the stock bridge pickup of five guitars of mine, four of them Gibsons, one LP Traditional 2013, one Custom Shop Les Paul Standard made in 2012 with 17-hole weight relief, two Frank Zappa "Roxy" SGs (although Gibson specified the Classic '57 without the Plus), and also of my Epiphone LP 1960 Tribute. They all still have their stock pickups in them, and I never even tried to change anything. My Les Paul Traditional 2013 is the only one of them that SCREAMS. I always tested several of each model before buying back then, and the differences between them were quite small. In other words, all of the LPs with 60's neck and weight relief sounded fatter and less bright while all the Traditional 2013 LPs really yelled at me through the speakers. My conclusion is that solid, non weight-relieved body and late 50's neck contribute to the distinct harmonics produced by this LP Traditional model. Three more Gibson LPs of mine featuring different bridge pickups (BurstBucker Pro Bridge, BurstBucker 2, 498T), different bodies (two with Modern Weight Relief, one solid but with five routed compartments - an Alex Lifeson LP Axcess), different necks (60's Slim Taper, Axcess neck profile) and even different timbers (one with quilted maple top and Coração de Negro fretboard) produce distinctively less of the LP Traditional's characteristic overtones. The Epiphone Tribute 1960 LP fits right into the picture. It has a solid multipiece body, a D-shaped slim neck, and body and neck are made of non-Swietenia timbers, i. e. no "real" mahogany. Her sound with the stock Gibson Classic '57/Classic '57 Plus pickups comes quite close to that of a weight-relieved Gibson LP Standard 2012 of mine with Burstbucker Pros. I own three more guitars that are real screamers, two Gibson L6S 2011 which are all-maple with 60's Slim Taper necks and 498Ts at the bridge, and one Fender American Deluxe Telecaster Ash with one-piece maple neck and an N3 Noiseless in the bridge position. However, only the latter comes close to my LP Traditional 2013. By the way, I have a Duncan Custom pickup in a 1980 Suzuki EL-600. a set-neck LP copy with arched, non-solid maple top, and it's a real screamer with this guitar while sounding dark in my 1978 S-G Standard that is really bright and clear with its stock Super Humbucking pickup. To be honest, I embrace my LP Traditional for her distinctive sonic characteristics and wouldn't want to change her. In case I want the most subtle LP tone for clean sounds and the "sound of doom" for high-gain, I choose my quilt top LP Standard, If I want bite for clean and yelling high-gain sound, I go with the LP Traditional.
  7. If that was true, I would want to live on flat earth, too. But whatever, I love Sauerkraut.
  8. As his family announced in a statement, Bill Withers died aged 81 from heart desease last Monday: https://www.rollingstone.com/music/music-news/bill-withers-obituary-977929/ R.I.P. Bill and thank you for the music you gave to the world. As a tribute to Bill here are two links, one with his song "Who Is He (And What Is He To You)" sung by himself, and another one with the same song performed as a psychedelic soul piece by Creative Source, one of my favourite cover songs of all time:
  9. Just did a little research on the current Les Paul Classic model. They come with four push/pull pots. The volume controls engage coil splits (incorrectly called "coil taps") when pulled; the neck pickup's tone pot reverses the the neck pickup polarity (incorrectly called"phase") when pulled, and the bridge pickup's tone control activates a control and toggle switch bypass for the bridge pickup without affecting the coil split function. Those switches might have collected residues that have gassed out of the finish, and switching them up and down a few times might help to remove the residues and the resulting transition resistances causing hum. In the past I had this kind of trouble with pots and toggle switches, too, and only on guitars with cellulose nitrate finish which all are Gibsons in my case. However, in case the hum problem exists with any pickup push/pull and toggle switch position, probably the ground connection of the output jack is bad. You may find out through taking DC resistance measurements between tip and sleeve of a guitar cable connected to the guitar. You will need a multimeter providing DC resistance readings between 0 Ohms and 2 MegOhms, and you won't even have to open any compartment of the guitar for these measurements. With the volume pots turned all counterclockwise you should read a resistance close to zero, regardless of the positions of any switch except for a pulled bridge pickup tone pot which lets you read the half (with the bridge pickup's volume pot pulled) or the full (with the bridge pickup's volume pot pushed) DC resistance of the bridge pickup. Good luck!
  10. Holly sheet - this performance made my day πŸ˜‚
  11. Haven't been logged in here for months, but I thought I post a sign of life in these dark days for all mankind. In case I contract Covid-19 my chances to survive are close to zero, even in case of full medical service, but hope dies last. In this context I remembered a song by Paul McCartney which was a smash hit here in 1993. I wish listening to it may ease your mind a little as it does for me. Take care and stay healthy!
  12. To me she (the guitar, not Orianthi πŸ˜‰) looks like a Gibson Les Paul Axcess Standard Floyd Rose. This model has always been a Custom Shop guitar. She came with a rosewood fretboard. Pickups should be 496R in the neck and 498T in the bridge position. The tone pots feature series (push)/parallel (pull) switches. The Alex Lifeson Signature Les Paul Axcess came with rosewood board, covered 496R and 498T pickups, Graph Tech Ghost piezo FR bridge, two output jacks that can be used mono, stereo (magnetic and piezo sounds separately) either with a stereo cable using the "Regular" stereo jack or with two mono cables with "Regular" jack for magnetic sound only and "Life-O-Sound" jack for separate piezo output. The series/parallel options are available through push/pull volume pots. The piezo volume pot is located at the usual bridge pickup tone control position and mutes the piezo signal when pulled. The single tone control for both magnetic pickups is in the position typically used for the neck pickup's tone control. I own one of these, so I know for sure. In addition, I had retrofitted the tone control for a push/pull pot including a polarity ("phase") switch for the neck pickup. The Dave Amato Signature came with bridge pickup only, a '57 Plus offering coil split, tone and volume controls. The current Les Paul Axcess Floyd Rose guitars come with 490R and 498T and coil split switches. They feature the new Apex headstock for added strength. See here: https://www.gibson.com/Guitar/CUSX9K662/Les-Paul-Axcess-Standard-Figured-Floyd-Rose-Gloss# https://www.gibson.com/Guitar/CUSQD2632/Les-Paul-Axcess-Custom-w-Ebony-Fingerboard-Floyd-Rose-Gloss#
  13. I wasn't here for some time. Therefore I'm a little surprised and trying to get used to the new forum style now. πŸ™‚
  14. Hey, capmaster! I also have been hoping you are OK. I haven't seen you posting in quite some time. Be well. Peace!

  15. As far as the pics allow to judge, she looks real to me. The embossed serial numbers on my Gibsons are clearly legible under clear coats, but some of those under solid satin coats are quite hard to read. Solid colors with a clear coat like on the guitar in question can make them very hard to decipher. Finally, all of them can be quite hard to photograph to my experience. Sometimes it took me dozens of attempts using lots of lighting and viewing angles.
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