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Everything posted by L5Larry

  1. If you're building a FAKE Gibson, just exactly why are you asking for advise on the official Gibson website?
  2. There's a "Catch 22" here. To produce high wattage (in a tube amp) requires a large heavy transformer, and for speakers to handle that power requires large heavy magnets. That's were the weight of a 100+ watt combo tube amp comes from. The only difference in weight of a high power 212 vs a 210 is basically a little bit of cabinet wood.
  3. I know the hard case versus gig bag debate will rage on forever, but I made a recent observation that I found pretty interesting. I do work here in my hometown for an organization called "Jazz St. Louis". On the main floor "storefront" they have a nightclub/restaurant presenting mostly national and international jazz artists, but also local professional musicians and student groups (high school and college/university). Upstairs they have an "education" department that includes a recording studio, class rooms, rehearsal rooms and a music library. Yesterday was a long day on the job as I had an afternoon rehearsal upstairs, and was then behind the soundboard for a benefit concert in the club in the evening, presenting five different local jazz bands, to benefit the education department in honor of the late founder of MaxJazz Records. During the day I saw no less than 9 guitar/electric bass players come and go, both student and professional. EVERY single instrument was being carried in a backpack strap gig bag. Not a hard case in sight. It's not like I was counting, or even consciously paying attention, but sometime during the night it just hit me. Just reporting an observation.
  4. I owned a 1964 Firebird for 20 years ('75-'95). My other guitars at the time were a Strat and an LP, so the Firebird was WAY different in sound, feel and looks. I was into Johnny Winter and Dave Mason at the time, so I had to have one. Man that thing was LONG, point-to-point they are longer than a P-Bass. At that time I probably wasn't good enough, or smart enough, to be bothered by the ergonomics compared to the Strat and LP. All I knew was I looked REALLY COOL playing that guitar. The Firebird never did displace the LP as my #1 Rock & Roll Gibson, and I think what eventually soured me on the guitar (and it took almost 20 years), was the neck dive and thin sound of the mini-humbuckers, not really just it's shape and size. At the time I finally sold it, it was setup specifically for open tuning slide.... and then I realized I sucked at playing slide.
  5. The guitar looks to be a "Standard", not a Custom, and with that flame-top, it also does NOT look like anything I ever saw in 1976, or from that era. I never saw anything but plain-tops during that time. A set of detailed photos, including the back of the full headstock, and a closeup or the serial number area, should tell the tale.
  6. There are a bunch of "banjophile" websites out there, just like the guitar sites. Older Gibson banjo numbers are pretty well documented. Here's one site that shows the 4-2522 number to be from 1954, although the "157" is not specifically listed. http://banjophiles.com/SerNumData/BowtieEraGibsons.htm Further internet research should yield all the answers you're looking for.
  7. Ah, so it is designated a "P".......SCHWEEEEEET! I love to get my greasy little paws on that guitar. What strings are you using on it? EDIT: Is that a Nashville or Bozeman built guitar?
  8. I would use and external tooth lock washer on the inside, just under the wood. http://www.homedepot.com/p/The-Hillman-Group-4-Stainless-Steel-External-Tooth-Lock-Washer-70-Pack-43798/204794826 I like my jacks to be flush with the wood on the outside, so this lock washer on the inside would be in conjunction with a clinch-nut and/or flat washer. Then you have to be able to tighten it all up without twisting off the wires. I use a pair of large curved jaw hemostats for this by grabbing the base of the tip spring contact, either through the f-hole, or through the plug hole itself. Tighten outside nut securely (nut driver, or open-end wrench depending on where the clamp is), but not too tight.
  9. Wow, I'm not sure I ever knew yours was an acoustic L-5C. My "acoustic" archtop is the L-7 that you made the bridge for, thanks again. My DREAM acoustic archtop would be a 1948 L-5P.
  10. Yep, also caught it last night. The host was fantastic. I had no idea who he was (still don't), but even my wife's interest was held by the script and the way it was presented. I made the comment that this guy was obviously not just another talking head, and clearly knew the technical and musical aspects of what he was explaining. Just enough tech info for me, just enough musical info for her. Highly recommended viewing. As a companion read, you should check out Geoff Emerick's book; "Here, There and Everywhere: My Life Recording the Music of the Beatles". He was George Martin's recording engineer at EMI for the Beatles from about "Rubber Soul" on.
  11. On the Northern trek, if you cross the Mississippi River at, or around, St. Louis, you're in my neighborhood. If you cross further South, but head North on I-55, you may still skim my area (Southwest of St. Louis city proper). The least I could do is buy you lunch. If you wanted to take a couple of hours for a "whirlwind" tour, there's plenty to do and see catered to your specific interests (art, architecture, history, science and technology, zoology, sports, music...). St. Louis to Kansas City is a four hour drive straight over I-70.
  12. I did the exact same thing years ago, but had to re-machine the keyed slot in the buttons to fit the tuner shafts of the unidentifiable "Gibson" branded tuners. Probably the Imperial/Metric thing. I hope yours were a direct replacement, as the mod was very tedious and time consuming. I then took it one step further with a "vintage" style TRC: After making many contacts with custom luthiers, Gibson and Gibson warranty dealers, to no avail, I had to hand carve my own bridge from a chunk of ebony I got from a violin maker friend. It took two trys to get it just right, as I first ASSUMED copying a 40's Gibson bridge would then intonate properly,..... WRONG.
  13. Yes, it's very easy. There are two foolproof ways. 1. Make a pencil rubbing like you did in grade school: Take a thin sheet of white paper. Hold it tightly in place over the SN area. Get a wooden pencil with a lot of lead showing. Rub the side of the pencil lead across the area with medium pressure to reveal the number. 2. Take a penlight type flashlight and shine it at a very shallow angle across the SN area from the side. This will create a shadow area in the indentations. Shining from a few different angles and sides may be necessary. Other information: From the photos posted - I see no evidence of refinishing, and the shallow serial number is not definitive evidence of such. Sometimes the numbers just don't get impressed very deeply. One you get the full and correct serial number, it still will most likely NOT help you put a mfg date to the guitar. Gibson SN's of this era have no rhyme or reason, nor is there a sequential "list", only approximates. Make sure to look for a 6th digit to the serial number. A 5-digit SN puts it an even darker gray area of dates. In any, and all, cases above, the accepted way to put a mfg date to Gibsons of this era has become the potentiometer codes. The pots will have a 7-digit code number on the back usually starting with "137". The following 4-digits are the date code for the manufacture of the potentiometers. It is generally accepted that the guitar was made within 6 months after this date. The mfg/date code is read as follows: MfgYyWw Mfg = Manufufacturer. "137" is CTS Corp. Yy = the last 2-digits of the year of made. Ww = The week of that year, 01-52. Let us know what you find out.
  14. Buc, You're hitting WAY too close to home now. I spent the year of 1981 living/working in Waxahachie, and partying in Dallas. In 1980 I was working in Tyler, TX. There is certainly something to say about "Texas Girls", but... The video of this song didn't show your usual "light touch". I'm sure this is something you'll have worked out before the open mic night.
  15. Here's one I'll be playing with the Big Band next week:
  16. Yep, I still got my old Strat. SN 51XXX (1960). Bought it used many, many years ago. Scraped up every dime I could find, and still had to borrow some to pay the $195 price tag. I thought I paid too much at the time for a "second hand" guitar.
  17. No, this neck was not broken, or removed. This is simply the affects of neglect and poor storage, and the "fix-it" of a complete ******* idiot (even a 1/16" of wood glue provides no structural support). The OP does not mention the selling price, which is of ultimate importance in ANY discussion of this nature. Is the guitar selling for $500, or $2000? Somewhere in between would probably be fair, on the low side of $1000. Guitars of this type and era were produced in the thousands. The figures for 345's in '72 were about 400. This was the heyday of Norlin era Gibson production. Add that number to the 335/355 production totals and you have a quantity of about 4000 instruments. In 1973 Gibson guitar production seemed to have peaked for the era. With almost 800 345's built, and about 6000 ES-3XX's shipped. It's not a big deal to pull this neck and re-glue it. It's not even a "reset" as so many people like to say around here. In fact, if the idiot hadn't squirted all that Elmer's Glue in there, it might have righted itself under proper environmental conditions. Unless this guitar is selling in the $500-750, run away.
  18. That's the dichotomy of George and his career. Is he a singing guitar player, or a guitar playing singer? It seems his entry into the business WAS as a singer, and he knuckled down on advancing his guitar playing after being inspired, and encouraged, by a renowned guitarist of the 50's, whose name I didn't know (and don't remember). As for pics, this wasn't really a photo-op type of encounter, nor am I one for the pose with the star kind of thing, but my wife snap a couple of George early in the evening. I was also working in an official capacity at the time, and had to conduct myself as such, as George was our "guest".
  19. OK..... I'm still digesting last night, and really don't know what to write about it....but I just spent the last four hours hangin' out with George Benson, and I had to tell somebody. There's a lot of backstory, and this didn't happen by total accident, but let's just say that all the planets came into perfect alignment. With plenty of whiskey and vodka flowing, and a captive audience of about ten of us, George was on a roll. Talking about growing up in Pittsburgh, his early days and homemade guitars, the recording sessions of "Breezin'" and "Weekend In LA", and moving to New York for a job offer that wasn't really there when he arrived. I also found out first hand that he does a great Nat "King" Cole impersonation, AND... you ought to hear his Elvis. WOW, for any jazz guitarist, and probably many guitar players of any genre, this was a dream come true. Sitting around a table at the feet of the MASTER. You see and read interviews, and hear stories, from/about your "idols" (yes, I will use the word "idol" for George), and wish you were a fly on the wall....... Well I just was!!!!!!!!!!! Long Live George!
  20. Loved it! This isn't your first rodeo, is it.
  21. Well no, that would be a Michael Stanley song. Here's the original, which does happen to include Joe Walsh on slide:
  22. I have a 2000 built, Custom Shop, "Historic Series", Factory Mono, Stop-tail 345. This is my "go-to" guitar for pretty much anything/everything non-jazz. I play it through an early original (1974ish) Music Man "Sixty-Five" hybrid tube amp (with master volume), with NO pedals. I have tried this guitar through the Roland SS amps I use for jazz, and was not satisfied with the results. As this is my third ES-3XX guitar (had a 320 and 335 prior to the 345), I can tell you there is no inherent design/build flaw in the 345 to make the high strings sound thin. Here's a few things to try to see if your setup might be affecting your sound: There have been many explanations written around the www about why you can’t just jump the signal wires together on a stereo 345. As I have never owned a “stereo” guitar, I have no personal experience with this other than reading the schematics. Comparing the Gibson wiring diagrams of the stereo vs. mono versions of the 345 (http://www.gibson.com/Support/Schematics.aspx), it shows that it’s not just the output jack that is the difference, there is a completely different signal path and wiring order. As this conversion from stereo to mono is a MAJOR re-wire, which involves gutting the guitar, let’s look at some other things first. The first thing I would do is to run this guitar true stereo. This will require a TRS to two TS ¼” breakout cable similar to what was originally furnished with the guitar from the factory. This type cable is made by “Hosa” for TRS effects loops, and available at stores such as GC. Run this “splitter” cable to two separate amps, not different channels of the same amp, or two inputs of the same amp channel, as there are “phase” issues here, same as just jumping the wires at the guitar jack. I would also plug in each side of the splitter cable individually. Check your results to see which, if any, of these tests might solve your problem. If so, you have “phase” issues at work here. I have read that the “phase” problems of using a stereo 345 in mono can be solved by flipping one of the magnets in one of the pickups. This is way above my pay grade, but the technical info is out there if you need it. IF… the true-stereo test does not identify the problem, I would look next at pickup height adjustment on the treble side. Too low is bad, AND too high is bad. Again technical research and trial and error is needed here. And then there is always string gauge to consider. Of course 8’s or 9’s will sound thinner than 10’s or 11’s, but a “balanced” set should be, well, balanced. I use 11’s or 12’s on my 345, but then I like piano wires on all my guitars (14’s on my jazzboxes). I really think the “phase” issues are going to be your problem.
  23. Originally, the Les Paul Custom was a full mahogany body, without the maple cap. I have no idea if they still are. I can't keep track of what Gibson has been doing lately, Gibson probably can't either.
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