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80LPC

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Everything posted by 80LPC

  1. Where did I put my set of stamps...
  2. Malmsteen's mastery of deadpan humour catches many out...
  3. I think the best way is to replace the springs with steel tubes / sleeves to give (virtually) stop-tail stability. Here is a discussion with good pictures : http://www.lespaulforum.com/forum/showthread.php?p=2103661 Pictures would be good - and any sound clips ?
  4. Check out 'Thrust' which was a great follow-up to Headhunters - with a different but equally amazing Mike Clark on drums. 'Actual Proof and 'Butterfly' are classics. [YOUTUBE] [/YOUTUBE] [YOUTUBE]http://www.youtube.com/watch?v=opKgk1fJoKY&feature=PlayList&p=F5285B88AA8FFA66&index=20&playnext=2&playnext_from=PL[/YOUTUBE]
  5. Pippy, was the Tele re-issue top loaded ? It's generally accepted this results in a thinner sound.
  6. 80LPC

    tokai

    Interesting. Both made in China. I have no axe to grind - excuse the pun, but how was the Tokai 5X better ? Can you post any pictures ?
  7. FM, yes it's necessary to solder the lug to the case. You could in theory try to bunch all grounds together at the ground lug, but the joint would be poor and the lug would most likely break. Note how all grounds connect at a volume pot case, and ground lugs connect to their respective cases. http://www.guitarelectronics.com/product/WD2HH3T22_00/Guitar_Wiring_Diagam_w_2_Humbuckers3Way_Toggle_Switch2_Volumes2_Tones.html
  8. It's easier, and more reliable to have ground connections soldered to the pot casing. The ground lug on the pot can then just be soldered to the case to complete the circuit. Imagine trying to solder several grounds to a small lug. By grounding the case, it also shields the conductive track. Without the ground lug of the volume pot, the guitar would still produce sound when turned to zero, and because the pot is always tied to earth through the ground / earth lug, the value of the conductive track affects the tone of the guitar. The higher the value, the brighter the sound since fewer high frequencies are passing to ground.
  9. Nice work and presentation Quietly. I have just one suggestion - Don't do all that lovely work and then check if the frets are level. Carry out any leveling first, then crown and polish.
  10. 80LPC

    Setup pointers

    Think of level frets as the foundation for every good setup. Without them, all other adjustments will send you around in circles.
  11. 80LPC

    Nut problem

    If there is a fret issue, raising the slot (by whatever means) will cure the open string buzz. The thing is it doesn't address the problem. It's the same as raising the bridge to prevent buzzing when the frets are not level. Playability and intonation suffer.
  12. 80LPC

    Nut problem

    There are ways to build up a nut slot, but it takes quite a bit of skill to do it properly and re-cut the slot. Have you checked the string height on the D at the first fret ? Is the height lower than the other strings ? You have to be careful with these things - here's an example. A bass player told me his 1st string was buzzing because the nut slot was too low compared to the others. I checked it and found the slot was at the right height - it was the other slots that were too high ! The buzzing was caused by uneven frets. I leveled them, and lowered the other nut slots. The bass was now buzz free and played much better. Like I say, check carefully to find out exactly what's happening. Of course, a string can develop a buzz through fault / corrosion / age.
  13. The Revolution Will Not Be Televised - Gil Scott Heron.
  14. 80LPC

    Cracked neck

    Because of the obsession with 'vintage spec'. The volute - along with the multipiece neck was a step in right direction. Les Paul himself helped to initiate these changes when he expressed his disappointment to Gibson at the number of breaks he'd seen. The change to a 14 degree headstock angle also made breaks less likely. On the Les Paul guitar, the multipiece necks became even stronger when they changed to maple around '77. These features helped to overcome the core problem inherent in the design - that of short grain at the headstock. Compared to the problem of short grain, irregular wood fibres are nothing to worry about. It is true that the straighter the grain, the more stable and stronger the neck, but it is of little relevance because when the wood is cut to form the headstock angle, most of the strength is lost anyway. The loss of volute, the return to 1 piece neck, and the change back to 17 degree headstock might be 'vintage correct', but it's a disaster waiting to happen. Be very careful...
  15. Third Stone From The Sun - The Jimi Hendrix Experience.
  16. Root Beer Rag - Billy Joel Or, Sunday Bloody Sunday - U2.
  17. 80LPC

    pots

    The resistance is at minimum, but at all times there is a connection to earth through the carbon track. This is why different value pots sound different. When the resistance is low such as with a 250K pot, there is a relatively easy path to earth. When the output of a pickup is gradually sent to earth, there is a drop in volume and the high frequencies are lost. As you increase the pot value, less high frequencies are sent to earth. A guitar with 500K pots will sound brighter, and with 1M pots brighter still. My steel has no volume or tone pots - it's direct out and very bright
  18. The Long Riders - Ry Cooder. Or, The Shortest Straw - Metallica.
  19. I like the cheeky, fun character of it - I can imagine it being used on an advert. Cool '60s vibe.
  20. 80LPC

    Setup pointers

    Kiwi, you have taken a few tentative steps on the road to guitar setup. It's good that you are interested in finding out what's happening, but I agree with BigKahune that a good tech should be able to locate the problem and explain what needs to be done. I would just say - necks can buzz all over the place ! The truss rod only changes relief between the nut and the 12th fret. The dimensions of wood change with temperature, humidity and time - so fret height can vary even though a guitar might have been set up 'perfect' previously (I'm thinking in particular of the Plek process !) Sometimes, frets are not seated correctly at the factory, and can start to lift causing buzzing. There is stress on the neck to consider, including any bumps / knocks. Sometimes the fretboard is not even true from new... Chances are that relatively minor work will give you a buzz-free, easy action.
  21. Are your strings breaking in the same place each time ?
  22. After Hendrix's death, a roadie disposed of his gear through the Carlsbro Sound Centre of Mansfield. I seem to recall there was little interest - maybe the stigma of death , superstition or simply the thought of plugging into that circuit with the very same KT66s Jimi had used. Would that thinking get in the way of a 'fast buck' nowadays ? An advert was placed in the August '71 edition of Melody Maker, and Rich Dickinson bought the amp for £65 plus postage. Click on the MM advert for a bigger view. http://www.richdickinsonsdf.co.uk/hendrix_amp.htm And the sale at Christies. I wonder if he kept those KT66 valves ? http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=5101158
  23. Lost in space - Lighthouse Family.
  24. My Jap Strat also has the zinc / pot metal block. The material is too soft to take the stress, and I will upgrade to steel. My Yamaha Superstrat also has a zinc block, and the arm has almost ripped away the side. My Strat's pots are ok after 11 years use (despite being the mini 'economy' pots you get on the Jap versions). The switch is a pcb affair that really needs an upgrade.
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