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Everything posted by JazzMeister

  1. Anyone interested in purchasing this guitar? It has since been replaced with a VOS ES335.
  2. Gentlemen, I genuinely appreciate each of your responses. That is exactly what I wanted to know- that this is somewhat normal for this type of production guitar. My feelings towards this guitar are funny/ironic, too, as the rest of my axes are player grade vintage stuff. My '64 Guild, '68 330, '71 335, and '71 SG have all had modifications and are all dinged, cracked, smashed, dented, etc, but play and sound like a dream so I've played them religiously without batting an eye. With this being the only electric I've ever purchased new, I guess I went into it with wanting a 'perfect' guitar rather than subtle flaws (that I now know are normal). In regards to selling, I would sell it, as the guitar doesn't really have a place in my heart compared to the rest of my crew (yet), but I don't feel that I could get what it'd be worth for me to sell it ($2800 or so), so I'll probably just keep it and try to think of it in a new light. Thanks again for the responses. I'm going to polish the frets, oil the fretboard, set it up, and see where that gets me. B)
  3. Hey all- I have had this guitar for years, and I don't play it simply because I don't feel like this guitar is "right." Bought it new three years ago (?) and for a brand new Gibson Custom piece, I feel like the quality is terrible. Why have I taken this long to say something? My frustration has caused me to set the guitar aside for a long time. My reason for posting this: Is this me being overly picky, or is this quality bs for the caliber of guitar I have purchased? Has anyone else experience similar issues? Background: my guitars all stay in a climate controlled room, and this guitar in particular has never been gigged, and has only been played a handful of times. I've had my luthier set it up twice. The guitar looks fantastic from 5ft away, but getting a closer look, the quality control for the entirety of the build just seems laughably poor. Some pictures of what I am speaking of. Is this normal? Unfinished finish, and unfinished edges inside the fholes: Finish separation between neck and body: Rough, unsanded, over-sprayed finish under neck pocket: Hard to tell from picture, but there are cracks in the binding next to each fret: Sloppy, rough to the touch and eyes emblems: And the ever chipping serial number: Convince me gentlemen: am I crazy for expecting higher quality than this, or is this how all of your guitars look? The (p)leather on the case has since bubbled, too. I am all ears to genuine feedback.
  4. I made a new video with some different sounds from the Gibsons for anyone interested. https://www.youtube.com/watch?v=AIZOuNxYSoA
  5. That's incredible, and all too true about how life is short. Once I'm ready to step up to the plate for a vintage jazz guitar I'll have to get some info from you! This is a great forum, and I'm very thankful for the help I've received thus far!
  6. I must say, before the 335 and the 330 I was playing jazz on a 56' ES125 and Strat respectively, and I can get a much better mellow jazz tone (but still with character) out of these new guys. I'll have to demo the long neck humbucker 330 vs the 335, because (what I think to be) the full hollow of the 330 gives it a very crisp sound that I can't get out of the 335, but at the same time if I roll the treble all the way back on the Vibroverb the 330 still has a body that the 335 loses when I roll off on both the tone knob or the treble on the amp. I have an issue with 'jazz tone', as it sounds great, but from my experience, feels like the guitar is 'dead' when it's setup with flat wounds. I played an old Heritage the other day, setup with flat wounds and their neck jazz pickup (full hollow), and it was very 'flat', as compared to the character that both the 335 and 330 have (or even a 137 for that matter). Some day I'll convince myself to have something setup strictly for jazz. Have either of you played a 335 through a solid state jazz amp? Curious as to how close one could get to a 'mellow' Scofield trio tone (like heard on 'En Route') with a 335 like he does with his semi-hollow Ibanez. I definitely agree though! As soon as I crank the amp and hit the 808 the 335 is in it's happy place, that's for sure! One of the more versatile guitars I've ever had the chance of playing! What do you play to get your jazz tone, Nick?
  7. Alas, a sound demo! https://www.youtube.com/watch?v=Fu3asCdtWmo And of course, I must note that I'm not using any pedals to 'alter' my tone. Tuner and Looper only, until the TS808 on the final jam on the bridge pickup.
  8. I suppose my wording implied that I already had a sound demo, my mistake. Waiting on headphones and then I'll track a little something.
  9. I'll work on it this weekend!
  10. I appreciate that! I used it on a jazz gig last night and the guitar was incredible. My lack of use for the 'middle position' may drive me away from rippin the pickup apart just yet. Now I'll have the info for when I do decide to fix it though! Would you guys have any interest in a sound demo?
  11. Duly noted! It's going to take everything out of me to not bring it to perfection. I must say though, I get frustrated looking at it and pick it up and plug it in and my negative feelings are immediately rectified. I'm starting to feel the same way. The stop tail is currently my main frustration at the moment. It's perfectly imperfect ;) I believe the guitar had a trapeze originally. To fix the phasing I need to flip the magnet, correct?
  12. Alright, got her all wired and setup. Two things that were very unfortunate that I was lied to about: A) The pickups aren't in phase with each other. Individually they sound absolutely incredible. B ) Whoever the idiot was that drilled for the stop tail mustn't have taken their time, or even measurements for that matter, because it's completely off. However the guitar plays and sounds like a dream given those two circumstances. Just a shame people have to be shady and hide things like that just to make a sale. This just went from an easy project to an extremely difficult one. Pictures:
  13. I went with early 70s 'patent number' humbuckers, as from what I read they're a bit brighter than the rest, which is what I'd like to hear out of this setup.
  14. I haven't verified yet, but will shortly, but I was told the harness was updated. Pickups came in today! Now for some soldering and a setup!
  15. Nick, beautiful guitars! After looking at solid color 335s without pickguards all night I'm starting to agree with you. That's surely true. I left the pickguard on the 330 for that reason. I must say though, I'm quite used to not having a rest at this point, as I got through my Jazz Undergrad without a pickguard and single coils I asked around and couldn't get an answer from the previous owner, but it appears as if for whatever reason, someone relocated the controls, and then moved them back
  16. Understood! I found an ABR-1 Bridge and Gibson rings locally to throw on so I can get her up and running before I worry about shiny gold hardware and finishing details. I had the same thoughts when looking at what I had in front of me. Just bolting them on quick and snapped a few photos of what I'll be working with: Pickups should be arriving tomorrow, at which point I will start setting her up. Should be playing here shortly, and I'm darn excited. Once I get it all dialed in I'm going to play it until my undergrad commencement and send her off to get re-finished shortly after. Until then, I'll start accumulating Gold hardware. Opinions are welcome on this matter, but I'm contemplating keeping the guitar without a pick guard. My plan: Seafoam green top and back while leaving the factory finish on the sides, inlays, and neck, utilizing gold Gibson hardware.
  17. It's definitely not original to the guitar, because it's a Japan made Gotoh piece of junk. Needless to say all Gibson parts will be going back on it. Found a discounted Gold Gibson bridge for $35, so I picked that up as a start. I also spoke with Marty Bell about refinishing the body in Seafoam Green, and leaving the body inlays as well as the natural sides. One last question, as for pickup rings, do I need the Historic Spec, which are 1/4" and 1/2" depths, or the normal 1/8" and 3/8"? The pickups I picked up are Patent Number early 70s. Thanks, gentlemen!
  18. Larry, thank you for your response! It's so interesting to me to think about how these guitars were being 'thrown together' at the time. I definitely got this guitar (and a 68' Long Neck 330) to keep forever as 'players', so I wouldn't fear using them for what they were originally made to do. Once I figure out if the stop bar is Nickel or Chrome, I'll pick up a Gibson ABR-1, thank you for that piece of information. As for pickups, I've been reading about (before I posted this thread) how the 'Patent Number' humbuckers of the early to mid 70s sound incredible, and since that was the period in which this I feel a little better about putting them in this guitar (not for value, just for vintage pickup construction to accompany vintage wood). The knobs I have I know aren't period correct either, but I'm not terribly worried about that for the time being. Also, if you're interested, here's my other 'player', which is a 68' Long Neck 330 routed for humbuckers with a block of wood under the bridge for feedback. I couldn't ask for a better playing/sounding guitar, but I'm thinking the full block down the center and the stop bar bridge will lend itself to a tone vastly different than that of the 330.
  19. Hey all, I recently picked up a 71' 335 as a project guitar, and am trying to get the right parts on it, but seeing as I've been a Fender guy up to this point I'm finding some blurry answers as to what parts are actually original to that time period. I only need pickups and a bridge. My questions: -Do I need the 70s 'Patent Number' pickups, or should I be searching for a different bucker? -I understand that early 70s Gibson was using both nylon and steel saddles. What bridge specifically do I need? Pictures below: Thanks for any information you folks may have!
  20. Wrong section, my apologies. Hey all, I recently picked up a 71' 335 as a project guitar, and am trying to get the right parts on it, but seeing as I've been a Fender guy up to this point I'm finding some blurry answers as to what parts are actually original to that time period. I only need pickups and a bridge. My questions: -Do I need the 70s 'Patent Number' pickups, or should I be searching for a different bucker? -I understand that early 70s Gibson was using both nylon and steel saddles. What bridge specifically do I need? Pictures below: Thanks for any information you folks may have!
  21. That was what I was wondering as well. And yes, I was referring to the fretboard inlays. Thanks for your thoughts thus far!
  22. Hello all! I'm normally a Fender guy (beware), but recently picked up what I was told is a 1956 Gibson ES125. I play through an old Vibroverb, and once I plugged the guitar in I just had to have it. However, I've been looking at other ES125s, and mine is a little different, and wanted to figure out exactly what I have, hence this thread! The serial number inside the body reads: V6658-15. My concern lies in the neat little 'music note' cover on the headstock and the bigger pearl inlays. All of the older ES125s I've seen have had dot inlays and do not have the headstock piece aforementioned. The case feels as old as the guitar, and was told that it was indeed original too, but again, am not sure. Thanks all!
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