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L5Larry

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Posts posted by L5Larry

  1. 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.

  2. ... Is this indicative of the guitar having a neck angle issue?

     

    Generally speaking... YES. This is the first indication that something is out of whack. Further detailed inspection is necessary.

     

    You'll want to check for neck bow and truss rod adjustment, and the neck joint itself.

  3. Does anyone know if this problem is limited to the "tortiseshell" pickguards, or can it happen to any color pickguard?

     

    Although other polymers used in guitar making have their own unique aging properties, the most prevalent being shrinkage and brittleness, I have only ever seen the off-gassing effect from the mock tortoise shell celluloid pickguards.

  4. The title certainly implies "Les Paul", but there has been some really nice non-LP photos posted, so here's a couple more.

     

    Both built in the Nashville Custom Shop.....

     

    A James Hutchins signed "Historic" L-5CES from 1990:

    11370345366_35365ae506_o.jpg

     

    From the small batch of "Historic" ES-345's built in 2000:

    11369863976_408b914b58_o.jpg

    • Upvote 1
  5. Based on your photo, it looks to be a standard production model, ...

     

    It's my understanding that the "A" serial numbers (in this case A07047) are only used on the "Historic" series guitars, and that "standard production models" would have the standard (eight-digit) serial number (stamped on the back of the headstock). The fact that the SN is ONLY on the paper label, and not on the back of the headstock, also leads me to this conclusion.

     

    An "A" number 345 without any headstock stamping would be historically correct for a '59.

     

    Have we seen photos of the ACTUAL guitar in question?

  6. At the right price, these are great little guitars. I had those "Melody Maker" pickups in an '70ish ES-320 (full hollow thinline) and loved them for their unique sound and versatility, some really great tones by messing with the tone knob.

     

    The original Melody Makers are also a great and affordable platform for mods and experiments. During the early 70's, those guitars were almost giveaways, and many got re-routed for humbuckers, and every other mod you can think of. I've even seen one with body horns cut off, turning the body shape into somewhat of a "teardrop", for high register access for slide playing. It is probably somewhat rare to see one in as close to original condition as this.

     

    As for the bridge, that is what is/was known as a "Leo Quan Badass" bridge. It was the first replacement bridge with adjustable intonation to fit the large mounting posts of the Gibson fixed intonation "lightning bolt" style bridge.

     

    Edit: Of "rockstars", I think it was Leslie West of "Mountain" that was a known player of MM's.

  7. Its A30724

     

    A30569 is listed as an EB-2 bass, stamped on July 13, 1959.

    A32285 is listed as an ES-335, stamped on January 4, 1960.

     

    So, roughly 1716 instruments built in 6 months, 286 per month. A30724 would be 155 into that run, or about half way into the next production month.

     

    So,... it is safe to say that the guitar with the serial number A30724 was "stamped" during early August 1959.

  8. I don't remember the Standard being available in Goldtop in 1976, But the serial number decal and TRC font are '76 Standard correct, as are others things such as the "Nashville" bridge, maple neck, etc.

     

    Obviously the tuning machines have been changed, and most likely the control knobs. The case is also period correct.

     

    I've seen many 75/76 factory "Standards" with "Deluxe" SN decals (I own one), but I've never seen a "Deluxe" with a "Standard" SN decal. Therefore I have no reason to doubt that this guitar left the factory as a "Standard", but as a Goldtop Standard... I'm not sure.

  9. The "A" number reissues were the highest level of "Historic Series" guitars when they were built. Unfortunately there is no code to the SN (that I know of), so it is no help in putting a mfg date to the guitar, or year/model being recreated. From the SN, photos, and the shop tag info, I see no reason to doubt the information you have.

     

    Along with the COA, the paperwork with the guitar would have originally included a warranty pamphlet, on the back of which would be a "Pre-Pack Checklist". This would included the date of final inspection and release for shipment. This date is generally regarded as the "born on" date of these guitars.

     

    During Gibson's "Golden Years", hollow body guitars did not have the serial number stamped on the back of the headstock, it was ONLY listed on the paper label glued inside the guitar, so this feature is one of the "historically accurate" features of this reissue.

  10. ... Especially, around the points of stress.

     

    This is a good example for discussion of "cause and effect".

     

    The "effect" is finish cracks, but the "cause" is not paint failure or climate extremes, or the entire guitar would look like this. The "cause" is stress, or structural movement in the weak spot of the thin area of the control cavity routing.

     

    So what caused the "cause? The first thing I would check would be the case lid to see if simply closing the case is putting undue pressure on the knobs. Another thing that would cause this would be trauma, as if the knobs got banged on something at some time (the damage might not show up until much later).

     

    Short of damage or trauma caused by use or neglect, a 6 month old guitar should NOT show finish damage of this nature, but.....

     

    If you're happy with the guitar in all other respects, I would just live with it. You never know what a "replacement" guitar is going to look/play/sound like, as all instruments are a little different. Many people even like the "checked" look on LP tops, and even pay premium for the "aged" look.

    • Like 1
  11. There is no structural concern with a proper and professional repair, but....

     

    Personally, I would never knowingly buy a guitar that I knew had had MAJOR structural repair. As a "buyer" there are just too many options. From '71 through '75 Gibson built about 13,000 ES-335's, surely there are more than a few on the market that have not been busted up and glued back together.

  12. I owned a 74/75 335. Was my main blues band axe for 20 years. It was the sweetest playing guitar I ever owned, and I literally played it into submission.

     

    That said, I would never even consider buying a guitar with a repaired headstock, regardless of the price.

    • Like 1
  13. Has the mono/stereo thing been discussed in this thread?

     

    The problem in buying a late-60's/70's version is going to be the "stereo" thing. The stereo versions were built in much greater numbers than the mono versions. In fact I've never ever even seen a "mono varitone" 355. I always thought that the "stereo" feature of the 345 & 355 were their downfall. I wouldn't want to have to have, and rely on, the special cord, and hauling around two amps. I played a 335 for 20 years, and when it was worn out, I was lucky that the Nashville Custom Shop had built a few "Historic Series" mono/varitone 345 at the time (2000). I would not have "upgraded" to the 345 if only the stereo version had been available (new or used), I would have just replaced it with another 335.

     

    Do not think that converting a stereo to mono is just jumping the output jack wires, it's not. Although the re-wire IS pretty straight forward (I'll post the schematics below), it requires completely removing the wiring harness and a pretty thorough re-routing and re-soldering of the wiring and wiring path. Not a big to those that do this kind of thing on a regular basis, but it is a major re-wire.

     

    Stereo Varitone:

    2859732516_1aee2750a9_o.jpg

     

    Mono Varitone:

    2862193610_b82184f436_o.jpg

     

    Page copy from a '74/75 sales brochure:

    18907714278_e1a7e9a781_o.jpg

     

    My 2000 Historic Series ES-345, mono/varitone:

    11369863976_408b914b58_o.jpg

  14. I'm really not sure whether I even want to jump in to this "argument", but I've been reading along silently while biting my tongue. So,.... here goes.

     

    The answer simply comes down to one note!

     

    When soloing over the chord progression in question, does the series of notes played contain the note "F", or "F#". Determining which of those notes to use will give the definitive answer, as each one is contained in one of the scales and not the other.

     

    I'm going to duck and run now!

  15. As I said, it's a (factory) Standard.

     

    The sunburst Deluxe of the time came only in Cherry Sunburst. The 1975 re-introduction of the Standard was also the re-introduction of the Tobacco Sunburst Les Paul. I would say, in it's simplest form, that a 1975 serial numbered (decal) Les Paul with full size humbuckers in cherry sunburst is a modified Deluxe, and one in tobacco sunburst is a factory Standard.

     

    Just prior to the new Standards coming out I was jonesin' real bad for a Les Paul to go with my 1960 Strat and 1964 Firebird. As a Duane Allman devotee, a Deluxe would not do, nor would cherry sunburst. I didn't know enough at the time to have hunted down a REAL 'burst, but when I saw the "new" tobacco sunburst Standard at Mel Bay's music store, I knew that was going to be my next guitar. Mel had two in stock, and within a few days, I had my new tobacco sunburst Les Paul Standard.

  16. ... routed the guitar for full-size humbuckers and installed them, or had it done.

     

    Most likely not.

     

    The earliest production model Standards, when reintroduced in 1975, had "Deluxe" SN decals. The story goes that Gibson started building and shipping Standards before they had the proper "Standard" SN decals. Gibson shipping record show that from late '75 through '76 there were only 25 Standards shipped. How many Standards had the "Deluxe" decal stickers, and how many had 1975 (99 prefix) serial numbers, no one knows.

     

    I own one of these mis-labeled first 25 with a '75 serial number, with complete and documented continuity in provenance, as I bought it new.

     

    Of the guitar pictured, covered humbuckers would have been stock, and as the seller states the original wiring is in tact, I would surmise someone along the way removed the covers. This was a typical mod back in the day.

     

    The tuners have been replaced, as this guitar would have left the factory with double-ring plastic keystone Klusons. This was another typical mod, as Grovers and Schallers were VERY popular in the mid and late 70's.

     

    The jack plate (not shown in the pics) was probably replaced with chrome or brass due to breakage of the original cheap brittle plastic. The original broke on my guitar many, many years ago.

     

    The case shown has a replacement handle. It didn't take much for the plastic handles of this era to split out at the bottom at one of the brackets.

     

    All else looks good and proper from the photos. I have been very pleased with my '75 Standard from day one, and have found no reason to replace it OR buy another in the 40 years since. The fair market value of this guitar is right around $2000 (USD).

     

    A couple of other "fun facts" about these mid-70's standards: A few years ago I had a chance to chronologically go through the dealer price lists of this era. The "Les Paul Standard" did not reappear in the dealer price list until June of 1976 (the Dealer Price List was printed and sent out twice a year), and the retail price was something between $600 and $700 ($599 or $650 or $699, I don't remember). I paid $500 for mine.

     

    I've written many times here about these guitars. You might be able to do a site search and find more info that I might have omitted here (try searching something like "1975 Standard").

  17. .... I just removed the covers, and buffed them out. Are they perfect?? Not really, but they work!! ...

     

    24k Gold electroplating is NOT very expensive to have done. The shop I use has a minimum charge of $30 or $40, and I have to save up enough parts to get my moneys worth.

     

    If you can find a shop that keeps a gold bath going all the time, the piece charge for a couple of pickup covers would be very reasonable.

  18. I am really pissed off due to the issue of pickguard disintegration for archtop gibsons in my possession that have been in storage

     

    The pickguard disintegration you describe is known as "off-gassing". It is simply the chemical decomposition of the celluloid material that the pickguards are made of. There is nothing that can be done to stop it, although certain "habits" will slow it down, and others, as in your case, will highly accelerate the process.

     

    The worst thing you can do to any guitar is leave it sealed up in it's case for long periods of time. Between the glues used in the plywood, tolex, and cat fur lining, plus the synthetic fibers of the cat fur, add to that the nitro guitar finish, the plastics used in pickup rings, knobs, switch tips and tuners, and then put a celluloid pickguard in there, your guitar is living (dieing) in a sealed up toxic chemical cocktail.

     

    Normal fluctuations in temperature and humidity have nothing to do with this. The accelerator here is simply lack of fresh air due to long term storage. As for the '06 guard showing signs of deterioration, the gasses from the older guards have acted as a catalyst and "infected" the new guard.

     

    Remove and dispose of these guards immediately, let the guitars and cases breathe some fresh air for a few weeks and give them all a good cleaning, especially removing the green oxide from everything (the gold plating is gone, no need to worry about it now). None of the damage is reversible, so time to move on with damage control and/or restoration.

     

    High quality replacement guards for these guitars are marketed through AllParts (an their dealers). I have found the "AllParts" branded guards to be of equal or superior quality that the Gibson originals. There will, of course, be some hand fitting required for the pickup notches.

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