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L5Larry

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Everything posted by L5Larry

  1. Before I jump into this discussion, I would like you to furnish enough detailed information to indeed confirm that it IS a 1973. Yes there were a few Standards made in '73, but serial number alone is not enough to identify them. So... If you would like to furnish some detailed photos (especially front and back of the headstock), the serial number and the potentiometer codes, I'll be glad to tell what a little quick research in published sources can tell you about your guitar.
  2. As usual, my opinion is contrary to everything written above. I very deliberately, and specifically, string my L-5 (and any other "trapeze" type tailpiece guitars) with the holes facing sideways..... for two reasons: 1. The curve of the ball end on the string and the curve of the bent tailpiece flange will match. 2. The wide portion of double string between the ball end and the twist is not bent and stressed by the sides of the slot.
  3. A Factory Order Number (FON) with the prefix "W" is from 1955. 1956 would be "V". Looks like a beauty.
  4. I started to post a long-winded response to your other thread, but I'll try to keep it short here. Your "unwanted resonance" may be the guitar, not the pickups. The Fralin pickups may be enough more sensitive to be picking up sympathetic frequency resonance of the guitar itself that the original pickups didn't. That said....... when I think of jazz guitar pickups Fralin is not exactly a name that comes to mind. There is one standard humbucker that I know of that is designed specifically for archtops, the Benedetto A-6. They are specially made for him by Seymour Duncan, and if Bob Benedetto is willing to put his name on it, then he hasn't found anybody that can build anything better for the purpose. http://www.stewmac.com/shop/Electronics,_pickups/Pickups:_Guitar,_archtop/Benedetto_Pickups/Benedetto_A-6_Humbucker.html I've got a Benedetto S-6 (suspended pickguard mount) on my '47 L-7 and couldn't be happier.
  5. This is the same info I have, although I do show a couple of Explorers shipping out in 1975. The 6XX,XXX numbers were also used in '74 and '75, and sometime in 1975 Gibson went to the 8-digit date code prefix number system. Considering all the above, I would guess this instrument to have been made in 1975.
  6. Would someone like to explain to JW the difference between "damping" and "dampening".
  7. Though no BJB's here, but I do have a couple of archtops with "floaters", a '47 L-7 with a Benedetto S6 pickguard mount (made by Seymour Duncan), and an old Silvertone with a Kent Armstrong fingerboard mount. Compared to My L-5CES (soundboard mounted humbuckers) the floaters give a VERY different sound. It is a much woodier traditional jazz sound, with more of an true acoustic sound, kind of like an mic'd acoustic. Although the 165 with the BJB will be a very different sound than your ES-300, I think you're going to very pleased, especially to have both.
  8. I played a 335 for 20 years, and then decided I needed an "upgrade", so I bought a "Historic Series" ES-345. The day I picked up the 345 (and after a quick setup and string change) I took both to a gig. Fired up the 345 and never looked back. I sold the 335 shortly after that. The 345 has come in many different versions over the years (mono/stop-tail/varitone, same in stereo, Bigby, Maestro, trapeze, most in stereo, some in mono), so you need to decide what configuration will work best for you. I'm not a fan of the current production model Memphis built 345's, and I don't think Gibson has built any Nashville Historics like mine since around 2000. In my case, I definitely preferred my 2000 built Histroric mono, varirone, stop-tail 345 over my 1975 trapeze 335. You can get some interesting tone variations out of the varitone, but as most people agree, only two or three of the six positions are actually useful on stage (the others are useful in the studio, but there is too much volume differential for stage use). I use position #1 (bypass) most of the time, but also use position #3 fairly often. It's handy to be able to get completely different sonic qualities out of the guitar by the twist of a switch knob, without have to mess with pedal or amp settings, OR changing guitars. Your results may vary.
  9. Look at the body depth in this photo. You can't convince me this guitar is only 2 1/4" deep. I think you're all barking up the wrong tree.
  10. Just to add a little fuel to this fire... From the pictures posted, the body looks deeper to me than a Byrdland or a "T".
  11. So when I was about 14 I figured out the biggest baddest tube amp was the Ampeg SVT. So I wrote a letter on my fathers business' letterhead to Ampeg with some BS story. They sent me the schematics for the SVT. I thought I would just take the schematic and BUILD one, yeah right. I'll send you a copy so you can play your homemade Explorer through your homemade SVT. I'm sorry kid, it just doesn't work this way, I tried it 40 years ago. Besides the fact it's WAY cheaper (in the long run) to buy a production line piece than try to custom build anything from scratch.
  12. The coil-tap switch is simply wired by connecting the single-coil "hot" wire of each pickup to one side of the switch, and the ground wire (braided shield) to the other side of the switch. When the switch is in the "on" position it connects the two wires of the pickup together. This creates what is known as a "dead short", meaning the signal from that coil is diverted directly to ground, not allowing the signal to pass any further downstream.
  13. Here's what the schematic is showing: The double coil lead from both pickups wires to vol - tone - switch - jack in standard fashion of most double pickup guitars. The audio signal travels down this wire at all times and all modes. The single coil lead for each pickup wires to a DPST (double pole, single throw) on/off switch which when engaged, dead shorts the single coil of each pickup to ground. Therefore removing that coil from the (above) signal path. So the pickup lead from the single coil is being used only as a "shorting wire", and at no time is passing audio. The audio signal travels down the other wire at all times. Stated a little differently: The coil tap switch does not switch the path of the audio, it just removes a coil from the path.
  14. I have schematics for the GA-77 and GA-77RVT, but NOT the GA-77RV, sorry. Aspen Pittman of Groove Tubes seems to have one of the largest schematic collections around. I would try to contact him, or Groove Tubes, for the information. That last time I talked to him I reached him at 1-800-459-5687.
  15. I had a Norlin era 74/75 ES-335 (tobacco sunburst). It was probably the nicest playing guitar I've ever owned (don't know the nut width). I was VERY satisfied with the guitar in every way, and between 1980 and 2000 I literally played the guitar to death. The frets were very worn, and the bridge had "fatigued". I had the bridge re-arched so it was playable, but chose against the removing the original frets so I could sell it for premium dollars as "all original". I sold it for 4X my purchase price, and replaced it with a new 2000 "Historic" ES-345. There were many incredible Norlin era Gibsons, and I still have my 1975 Les Paul Standard (the first guitar I ever bought "brand new"), and see no reason to ever replace it.
  16. I've got three black speed knobs from a set I took out of service and gave one to another member here. If your knobs are black I'd be glad to send you one, or two, or threel Let me know.
  17. It is an SG Standard, and even by serial number alone, YES, it could be a 1974. Check the potentiometer codes to confirm. A 129,XXX serial number could have been used in '63, '70, '71, '72, '73, '74, or early 1975. Obvious features and production dates, etc, will rule out many of those years. 1974 is very possible, AND I have a 74/75 catalog showing a VERY similar, if not exact, model (harmonica bridge, speed knobs, walnut finish, etc).
  18. Hi Alan,

    I'm not sure how all this new communication works on the revamped website, so I'll post my response to your question in a couple of places.

    Hi Alan,

    My 74/75 catalog states 1 3/4" for the nut width on the Johnny Smith. All other archtops (as you state) in that catalog list 1 11/16" for the nut width.

    Larry

  19. In most all cases it is more economical to buy an off-the-shelf product and have it "personalized" locally by an independent craftsman.
  20. Laaz is correct, "00" was the prefix code for 1976, also identifiable by the fact the "00" is somewhat separate from the other numbers, and the fact that the serial number is a decal.
  21. From the links posted, the Elderly site clearly states "Kluson Deluxe". The Stew-Mac only says "Vintage Style". They MAY be the same, but I would not risk it. You need to be real careful with some of the products sold by Stew-Mac if it doesn't state a specific brand or manufacturer. I have been burned by them in this way, and ended up up with some really cheap crappy parts. Here's the official Kluson site for comparison: http://www.kluson.com/PRODUCTS.htm You might also try Allparts.
  22. When I decided I needed a classical, I too starting wondering about a Gibson brand classical. I came to the same conclusions as QM and bought an Alvarez for $300 with onboard electronics including pickup, EQ, mic input, tuner, notch filters and some other stuff I don't even know what it is. Even new brand name classicals without the electronics can be had for about $200. Having the modern working man's model allows me to gig with the guitar, as I use it with the jazz combo on Bossa Nova type stuff. I usually use it through an A-B box into the same amp (and settings) as my L-5, and have also DI'd it straight into a PA system. A Gibson C-1 would be a nice "piece" to own, but I'm not sure how practical it would be as a working man's guitar.
  23. Hey, I've got an idea. Play the damn guitar into submission!
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