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About clayville

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    356 is my number

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    Home recording, the Blues, all things related to Gibson CS-356s, watercoloring, Boston sports teams

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  1. Some of the CS-336's were spec'd with fat necks, but they're hard to find. You might also look into the Collings I-35 - every one of those I've picked up had outstanding build quality and felt more like an acoustic guitar neck than like my 60s slim taper CS-356 (which actually feels more like a 59-spec LP neck than a skinny/flat shred machine).
  2. Speaking of typos... that archived CS-336 spec in the link above has one at least in the way the archive presents it - the 336/356/339/359's are all 24.75" scale guitars in reality (standard Gibson scale). (see here https://www.dropbox.com/s/rmfpzz4d9db3qmh/2006 Gibsom Custom Catalog.pdf?dl=0) I forgot about the Pat Martino model too - generally a small-body semi, but a different single cutaway shape and with the straight-pull headstock.
  3. Kind of hard to tell what exactly that is from just a back photo. If that's a tummy-tuck along the top edge rather than a reflection, and with the pick guard mount along the bottom it's a left-handed model. I don't recall ever seeing something called an ES-366, but there was an ES-346 - the Paul Jackson, Jr. model. In addition to the access panel on back, they had a smaller straight-pull headstock more like a PRS than a standard Gibson headstock. Though a small-bodied guitar and sized generally like the later CS-336/356 and ES-339/359, the ES-346 horns were a bit more flared and more "Mickey M
  4. Generally, if it's "too good to be true" it probably isn't true. A couple of other factors that might be in play: with the pandemic leading to more people shopping online instead of in person (where their own eyes or a trusted dealer/salesperson can increase confidence) buyers nervous about the size of the transaction are looking for another pair of eyes. I also sometimes think that counterfeiters will float something out on guitar forums to test their "If I can fool these folks, I can try and sell at closer to 'real' prices" notion.
  5. I've loved my quilted CS-356 since the day I got it 17 years ago - but chosing between these two is primarily a matter of personal taste. I'd just point out that the Bigsby on the black one adds a bit to the weight. The figured wood 356s often come without the pick guard installed (but the pick guard is usually in the case and can be easily added later) - I've never installed mine, and it's never shown any excess wear from having not done so.
  6. Plus... Sweetwater claims to do a multi-point inspection to make sure the guitar is in good shape before they ship it to you (rather than just forward the box to you unopened) and they will set it up the way you prefer if you can communicate that to them. As others have said: if it's a guitar and color you covet at a price you can afford, I'm of the opinion, generally, that you can buy from Sweetwater with confidence - particularly given the generous "we want you to be happy" returns policy. I also think, generally, that Gibson isn't likely to be making a boatload of Trini's and shipping
  7. This may not help your situation, but when I "top-wrap" strings over the tailpiece in this manner I usually thread an extra "ball" (ring) from the old string onto the new string so that the heavily wrapped portion of the string end isn't being bent quite so much - just the thinner, more flexible part of the string. I do this mainly to prevent the rougher string end from marring the tailpiece, but it seems to me that it may help you to not put quite so acute an angle or bend on the stiffer portion of the string end. Just a thought....
  8. If they are local sellers get the one that sounds and feels best to you, especially if you're looking for a particular recording sound. I'm unaware of any characteristics of either guitar you should steer away from. That said, the Custom Shop guitar with all the case candy and documentation is always going to retain a higher perceived value than the other should you come to sell it. That's why it's more now!
  9. On the "recessed holes for the string anchors to fit inside": It's not uncommon when top-wrapping like this to slide an old ball-end string anchor onto the new string as a spacer so that when you wrap the new string over the top the extra winding at the bottom of the string remains inside the tailpiece rather than wrapping over. A few reasons for this: it's easier for the new string to wrap over, the sharp bits of the string end aren't under your palm, and you end up not chewing up your tailpiece quite so much.
  10. A CS-356 has been my main guitar since 2003 and though I've followed the small-bodied models fairly closely, I may not be 100% accurate on every detail here: "Most" of the variations in the smaller-bodied Gibsons are revealed in the model numbers. With the ES-339 and ES-359, the 339 has a rosewood fingerboard, dot inlays and single-ply binding and nickel hardware while the 359 has an ebony fretboard, multi-ply binding, block inlays, gold hardware and the split-trapezoid headstock inlay with headstock binding and Grovers. [These appointments roughly correspond to the difference between an
  11. I've had an ES-140 3/4 on my wish list forever but have never pulled the trigger, and the vintage prices keep rising while I dither. I currently play a CS-356 that I love (same size as the ES339) so I favor the *somewhat smaller* models, also due to an arm injury in my youth. To my knowledge, Gibson doesn't currently offer anything like the 3/4 models of the 1950s and early 60s. But there are a few builders out there making guitars that are inspired by them somewhat: similar size and shapes to those Gibson 3/4 ES's like the 140 and the 125. The B&G 'Little Sister' might be worth looking in
  12. I can't vouch for this in any way, and have no idea what you're looking to spend... but there *appears* to be a red 1960s with vibrola available on Reverb at the moment. For some reason it has a 75% price drop down to $5500... and that might not be much (or any) more than what the Custom Shop would charge you for a Made to Measure. The price drop gives me pause, but I'm not expert enough to spot anything obviously sketchy about it: https://reverb.com/item/28263785-gibson-es-335-1960s-cherry If that sounds like a lot of caveats from me, it is. I'm not sure what these 'should' go for o
  13. Congrats - that's a handsome CS-336. FWIW, I've been using DR Pure Blues .10-.46 pure nickels on my '03 CS-356 for about a decade now. They seem just a little warmer and, well, bluesier than the D'Addario XL10s I favored before that (which suits this guitar and what I play). Sounds plenty "jazzy" on the neck pickup if that's what you're after, and the guitar is still as versatile overall as it's always been. These (336/356) come stock with .10s, so if you go up a gauge to .11s you'll either be just fine or you *may* benefit from carefully drawing a folded piece of fine sandpaper thr
  14. The first number on that Certificate shown above is Gibson code for exactly what it is (Whoever wrote it may have forgotten the '3' in '355' - but I can't think of any other models that have a 55 in the model number so perhaps it isn't needed here). 'ES' = Electric Spanish '55' = ES-355 '18' = 2018 'AW' = Antique Walnut finish 'G' = Gold Hardware 'IU' = I'm not sure about these... Maybe it's really an 'M' for Maestro? '1' at the end = 'First Quality' (they used to release 'factory seconds')
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