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Everything posted by 80LPC

  1. 80LPC

    64 SG Jr

    The trademark bright crunch of a JMP 50 MV What are the 2 extra pots for ?
  2. How about a Vibramate short tail with a B5 ? Best with a roller bridge though... http://img101.imageshack.us/img101/8780/2009042921.jpg
  3. This is most likely due to a change in humidity. When wood loses moisture in a drier environment, the wood fibres shrink slightly causing the relief to increase. (This causes the truss rod nut to become more tight, not slack). When wood absorbs moisture from it's surroundings, the neck and fretboard become more straight. The process takes place regardless of the finish - nitro cellulose, poly, rubbed oil etc - it can't be stopped. Keeping a record of your preferred relief is a good idea. You can then adjust the neck if changes occur.
  4. Seems low, but it's a bolt on. Some beautiful pieces there.
  5. One of the pictures shows a fret which is too short - it doesn't reach the edge of the board. Also, the nibs are very low and have a completely different profile to the ends of the frets. The work is typical of 'fretting inside the binding', and the nibs have the profile of the original fret ends. At the upper end of the fretboard, the match is closer, but this is just because these frets have been filed down more.
  6. "Original large frets in great shape; they have never been dressed or crowned" It has clearly been re-fretted (badly), and they are very worn. The nut looks to be a replacement also.
  7. I've seen isolation boxes used in studios, so I made a compact version. I plugged this - Into this - Inside are 2 mics (one aimed at the centre of the cone, the other midway). There are designs around the web, but I wanted to try a couple of ideas of my own. It's an experiment - I didn't have high hopes. It sounds like a Blues Junior cranked up, but very little sound leaks out. I decided to change the design to give more bass (and maybe more of a Marshall sound), and just finished soldering it - will try later.
  8. Gibson and Fender always go well together !
  9. Yoda, look familiar ? This particular one is 1980. The side mounted jack came in '79 and lasted for around 10 years. The trapezoid inlays came back around 1985. Was also available in some tasty sunbursts. 1983
  10. Some mid '70s SG Standards had unbound fretboards, but they had block inlays... I'm suspicious about this guitar. Much better pictures are needed - headstock front and back would be good. As Duane points out, that bridge is 'interesting'.
  11. That small amp angled up looks familiar... Santana was using the 'Boogie' in 1969. http://en.wikipedia.org/wiki/Mesa_Boogie I think it would be more accurate to say that 'soul' is in the fingers, whereas 'tone' is a prime function of guitar and amplifier. (No caps needed).
  12. 80LPC


    For a real high, spray without a mask and inhale deeply....
  13. You could replace your 3 way with a rotary switch such as this one - http://www.guitarelectronics.com/product/SWR41/4-Way-Rotary-Guitar-Pickup-Selector-Switch.html Cool with a chicken head knob.
  14. I changed my RGX to on/off operation. I went through loads of caps to get just the sound I was after. This way, when the switch is off, it lets more highs through because the output is not being loaded by the tone pot. With the switch on I get a nice effect like a wah in the heel position.
  15. Great ! Guitar louder for the next one please !
  16. I envy how you can crank it up. Where I am, the amp would be seized... I'd like to hear one of your SGs going direct into that Marshall. What cab have you got ?
  17. 80LPC

    My Gibson SG

    Dom, the Vintage will be made from nato (sometimes called 'eastern mahogany' - although it isn't a true mahogany). It's a good tonewood, and some pieces can have beautiful figure.
  18. With the RP maple construction, I think that would sound brighter than a Strat or Tele - would be interesting to hear. I coil tapped the bridge p/u and added series / parallel switching to the neck p/u on my walnut SG. I liked the tones (the neck could get close to a Strat sound), and I could always return to humbucking mode of course.
  19. The ground wire is trapped between the insert and the wood. The other end is soldered to a volume pot to become part of the ground circuit. When you touch the strings, the electrostatic charges in your body are sent to ground. If the pickups and control cavity are correctly shielded, there is no need for the ground wire to the tailpiece.
  20. To the tailpiece. Of course, the bridge is also grounded via the strings.
  21. This would have been pretty low - about 30 psi I think. It was thinned down more than normal which gave it a more 'wet' look. It needed quite a few coats, and put a fair bit of solvent in the air ! It was the old style siphon gun with narrow fan, and I held it closer than normal but moved faster. What I used to do was follow the contours as accurately as possible and watch the surface like a hawk. With the final coat, I always used to load up the surface as thick as I dared. I never sprayed a guitar hung in one position, I was always turning it to get the best angle. By the way, this was over the original matt finish that Gibson applied to "The SG" and "The Paul".
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