Golden

I remember the studio double cuts came with that finish also, https://reverb.com/item/638946-gibson-les-paul-studio-double-cut-90s-green

The natural binding and LP look great.

As mentioned above, Gerlitz Guitar Honey, or if you want it darker, Fret doctor, they usually need to be cleaned and conditioned, frets polished and it will be straight.

The LP Tributes are nice electrics. Take someone else with you who is familar with them if you can. Good Luck, play a few if possible. The 490 or 498 is a difference in output alnico II or V. The boards I condition anyway but I wouldnt worry about the boards unless theres visable shrinkage or something as a result of lacking humidity/dryness. Play a few since the 490s are slightly different, I still use a set but my bridge is 8.4 and neck 7.7. Its just a set I liked that balances well. .

Dilly Dilly!!!

Thumps-up....thats OK ....me too, try the phone camera sometimes they work.

6.6 wow, you may not need a strap it probably floats. So did you name this sg "neck dive"? And photos of neck dive? I kinda like P-90s ....maybe they put your strap button slightly out of tolerance. I only seen "one" with neck dive back in 99-Standard with a stock ABR nice SG too. Didnt stop anyone from playing it. I guess once in a blue moon, one must slip through. :) That must be one of the rare light mahogany bodies under average at 3.6 lbs married to a slightly heavier neck. Rare animal in the kingdom. They usually sound great as you see most of these rare animals ALSO sound very good. :) Did you say you had a photo?

The odds of you receiving a SG with neck dive seems rather slim. Just saying, course looking for very very lights SGs will increase the odds and probably more so with this model. The SG Jr is one of the models basically stripped down and light to begin with as the weights indicate. The Jr weight reduction comes not from special selected magical wood but reduction of hardware in the body area where it would add weight to the body end-reduce neck dive. They had one the other day at 5.5 lbs. The bodies are just a lot of the average 4lb bodies as are the necks. https://www.sweetwater.com/store/detail/SGJRH18VENH?gclid=EAIaIQobChMIsJPBst6E2QIVkbbACh2KnQZREAQYAyABEgKlxPD_BwE with The front strap button placement does make a difference in such a situation since its placed in back of the balance point IF the wood neck is unusually heavy and the body unusually light. Which is why I suggest this is much rarer than people assume. The mid point is the 12th fret the guitar 40-inches - half way 12th fret.

The average weight of a raw SG Standard body is 4.03 lbs, which is in the normal range for a Gibson SG-style guitar. Average weight of the neck is .98 lbs according to Gibson and thats the "routed" SG. MAYBE the small percent is sort of like a squeaky wheel. Seems to be, just saying....but you like the SG light did you say? LOL, hey mine has Grovers and doesnt do that. Try a black chrome pick-guard they are pretty heavy, wont even know the difference.

LOL, based on what, the poll you took? You would have to assume which it may exist but I haven't seen the evidence, that 90% of the necks on an SG weigh more than the body on the same 90%? It may be an interesting point do you know? Well, then think about those who seek light weight SGs as part of their desired guitar of good wood? So for sure theres a weight balance tipping point and so....the weight you buy should then be considered? I'm just saying this may be part of the equation I dont know but many prefer light weight mahogany. Anyway since you fell in love now with regrets, what you could do is have made a metal/steel/aluminum pg and change the plastic knobs to brass add a weighted strap button on the bottom. That might have the neck hitting the door frames when you let go though.

I have to check it out, I've checked vibration on both ends but not quite this way, interesting. In this sense Im not sure what happens but it seems the vibration creates a mechanical resonance through the wood, and this then becomes restricted various ways, wood itself for example with dry/wet issues aging etc. I think with the semi hollows this becomes more pronounced which is hard to qualify when we add laminated in this equation .

Heres the issue.. we all know the wood matters and from many many examples, as does construction and tolerance but what we cant do is reassemble an already perfectly built guitar with a slightly different neck tolerance to the exact point that the sound variance becomes discernable BUT for sure they know the failure point which is why a specific tolerance is allowed in production of .1 degree to begin with. So imho you have preference CS, then acceptability which really may be similiar in overall build minus the neck joint, then further you have failure. There may be no discernable tone difference within the 1 degree. Just an appearence -visual issue. You also cant correct it by changing a proven method of build and especially since the issue is not on all the LPs etc....its not the rule but an exception to the rule. However further altering the angle and string with obstruction...off the top of my head....I cant think of a single good reason why that wouldnt make a difference. Anyway imo we made further progress with this than usual... But I agree with everyone here you should really look and if need be take someone with you who like all these guys...know these guitars. The right neck angle shows in all aspects. Not just the stop tail but the bridge height the pick-up height and thus the overall symmetry of a very successful design/string action/vibration. So in this sense its really hard to blame Gibson. I think its the nature of the design unless that tolerance is for example cut in half to a less observable point. But for example on the SG, I look for this and a straight neck decent fret work etc ....

Well Pip its down to wood and tolerance-QC "in general" not specifically on your electrics. So in your opinion what difference does the tolerance make? Quite a bit no?

They are not identical Pip, even if they were they would sound different. Obviously two guitars with all the same parts can sound different with variations in the grain, build tolerance, slightly different values of caps, hardware adjustments, aged wood, string tension etc. But the point remains, there are differences, and that difference can be evaluated. Imo if you strip both electrics and swap all the hardware, electronics and so forth making one set, they will still sound different though perhaps closer. So whats left in the sequence which can make a difference? If we use the same everything swapped out on two of the same model guitars then all thats left is wood and tolerance and both make a difference being my on-going point and nor does it change because its logical. Whats not logical is tolerance makes no difference but here at this junction only the wood does? Just saying and in fact from ricks level of priority where the wood matters very little on an electric then I guess the tolerance must be the difference mattering the most? So apparently he implicity agrees which is what Im reading in to this. But then comes this......... Translates to "tolerance" which IS construction and has a minimal impact but the wood even less? Just to put that statement in perspective of relevance. Then there is nothing left to equivicate and they still sound different. In ricks story of relevance theres nothing left to compare which will make a difference yet the difference still exists. So again and sorry, Im not comprehending what hes saying nor can I imagine anyone else is at this point.

Well "everyone above"must have tried "really hard:" to read too much into the quote below in relation to this ........."I have never stated that the material that the guitar is made of does not have any impact on tone or sustain" which appears contradictory to below. And these ARE the basics which seem well not basic in your quotes? Its not people are reading TOO MUCH into what your saying they are attempting to comprehend what your saying, so wood matters, and in either a electric or acoustic and both rely significantly on string vibration through the body. So why are electrics not the same minus the sound chamber/electronics in relevance to wood? The fact is they are so why the distinction to point out what? The degree of what matters in importance in your opinion? And in this sequence the wood matters not at all or least of all and the tail stop adjustment has a very minimal impact. But all materials matter as do adjustments. Seems to me you would like to talk in both relevance and specifics at the same time. But when pressed on specifics relevance is the path. "I have never stated that the material that the guitar is made of does not have any impact on tone or sustain"

Return it for another and tell them why you dont like it. In fact they should send you a free hat or something for the hassle. But...

You sure? Because I could point out a few inconsistencies in the "tone and sustain differences between different guitars would be more relevant" with your prior thinking where the wood nor material mattered only the pick-ups/electronics, in such a case I'm not quite sure how you arrive at more relevant? If we used the same nut and compensated bridge and lock it at the nut remove the headstyock, add whatever picks-ups you like....THAT would sound "similar" in consideration of tolerance and similiar adjustments as small as poles on the pickups, etc, until you anchor it with another material. If that wasnt the case then where is the relevant difference more distinguished? So you have the same bridge nut and pick-ups. Now what will make those three factors sound different? Surely something since nothing leaves what difference? Your losing me with your thinking.

Happens from time to time. Mine doesnt have the issue, anyway though I use a wide leather strap with strap locks. Nevertheless on that SG model I seen the weights on them, some are around 5-1/2 lbs so perhaps a wide leather strap will work which I would try first anyway. To add to the issue it doesnt have Grovers which add about 7-8 ounces nor a very large control cavity to add weight.

Lol, why whatever do you mean Pip? This is like Zen and the Art of Motorcycle Maintenance where we can explore the metaphysics of quality.

If you believe that then Mahogany isnt required nor a Maple cap, nor for that matter wood. Maybe we can just recycle all the plastic in the ocean instead of wasting the wood because...it makes no difference. In fact you need nothing but a nut to saddle string path attached to plastic..then you drop your favorite pick-ups in and PRESTO.....Les Paul Tone. In fact if thats the case why play a Gibson LP because of the pick-ups or for what reason other than appearence which again is consistent with my point about... appearence? Thanks

Well heres the point I'm making which btw is in relation to string vibration, for the wood to be in play as I'm suggesting this indicates the vibration is active outside the two points of the saddle and nut and then is affecting or coloring the sound. Its not the wood picks up the vibration of a alternative source, the vibration is through the wood and the electronics "secondary" to the sound. Nevertheless what your talking about 'effects" and in relation to secondary "affects" for sure this becomes permeated with the effects and eq as you mention, the relationship of the wood doesnt change or disappear -its just not as discernable, but the wood is affecting the end result coming out the speaker be it, its heard of not. So the mention of wood is also in relation to the string vibration which makes the point of some strict thinking of nut to saddle only... simply "untrue" Even if you lock both points, they still vibrate though the material through the posts and through the wood, neck, headstock etc. imho :) Just saying, if something doesnt stand to reason just let me know might be me lol. I didnt say I was right I just have a varying point of view. lol anyway thus the mention of wood- not to distract but on the contrary to show an observable point in relation to the topic.

We are talking vibration and tension not frequency or tone which you admit theres string vibration-tension variation and its factual that obstructing the path affects the vibration and tension- we aere only talking to what degree not IF. In fact you introduced the term "slinkiness" in relation? And you also associate that with noise/tone. This being most likely negligible depends on tension and length being altered outside the nut and saddle. The vibration is more pronounced as you see with trap tails case in point.

However if your proposition is correct then its also correct that hitting the rear of the bridge affects the vibration/slinkiness/downward pressure=tension- thus tone and the more pressure on the rear of the bridge the more the effect. ' Stands to reason and thats aside from the gold wear and rear pressure on the ABR pr whatever and string breakage. Just for clarity here...but thanks, the observation and agreement is progress on the point is all. Further I dont see any difference with a slight rearward movement of the ST since imo Gibson focused on the break angle more than the location because of the string jump with bends-slinkiness imho was too much at the time/trap tails. So theres a trade off here also with as suggested with "slinkiness". Thanks btw the break angle can indeed be more shallow, however as noted theres a point where the shallow angle fails which many builders.designers go into great detail about for example Terry McInturff has done extensive research for Hamer on the headstock breakangle with trems and angle failure. So let me ask, you agree with the statement that the frequency at which a string vibrates depends on the length between nodes/saddle/nut, the tension from the angle, and the linear density of the string which as you state the 8s make a difference? And btw then the body absorbs the vibration of the stringed instrument thus theres a secondary wood vibration which obviously also affects the tone also thus tone wood selection solid body-hollow body.

So would it matter if the strings were hitting the back of the bridge, you know with the slinkiness? Affirmative I would just assume. lol.

Yeah I seen it, Hamer Newport and others same thing with a slightly further set back tail. This is where I suppose I should ask ...is there any particular reason its exactly where its located?