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About eclecticsynergy

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  1. Imgur works well for me too. It's free, and fairly simple to use. I'd tried a couple of other free sites first and couldn't figure out how to make 'em work right.
  2. I wouldn't ever use that on a guitar. But I once used something like it to whiten the edges of a truss rod cover.
  3. That's a nice one. I favor fatter necks myself. Also happen to love P90 neck tone.
  4. I like my Wildkat; I've had it since 2010. It's not among my most often-played axes but letting it go hasn't really entered my mind. The Alleykat is a really attractive variation - to have that great neck carve without Bigsby would be cool, and I feel the combination of bridge hum and neck mini hum was a brilliant design choice. They don't come up for sale too often and most were in trans black or terribly executed clownbursts. But the one in tobacco sunburst is just beautiful.
  5. 11-year-old zombie thread here. But people are still curious about these and this thread comes up in a search, so I figured it was worth setting the record straight. These are not chambered or semihollow, they're hollow with a twist - a solid block underneath the bridge & tailpiece - which is why they don't require a floating bridge or trapeze tailpiece like traditional hollowbodies. The Johnny A is made the same way. Back & sides are all one piece, carved from a single block of mahogany. Here's a pic of a routed body at the Epi factory. I like the neck profile on these guitars - it's a little chunky, very comfortable. For me. Mine's a Wildkat Royale. I'd love to find an Alleykat. They still come up used once in a while. Just saw a post from somebody who got one in tobacco sunburst and it's beautiful. Not a fan of the cherry sunbursts on these, most of the ones I've seen have been clownbursts like in the publicity photo. If I could find one with a nice fade I'd grab it. But I really have GAS for the tobacco burst.
  6. Yes, there are two models, both from Gibson Custom. The original JA Custom has a maple top, triple-bound ebony fretboard, custom inlays & gold hardware, and the JA Standard has mahogany top, rosewood fretboard, trapezoid inlays & chrome hardware. I believe both use the 57 Classic pickups. Epiphone makes a version of the Johnny A now too, which sells for less than $1K.
  7. Yep, the back and sides are all CNC milled from a single block of mahogany - the only seams are around the edge of the top. When they rout out the cavity they leave kidney-shaped pillars to support the bridge and tailpiece. So the top is mechanically coupled to the back/side piece making for a very lively instrument. The same technique is used building the Epiphone Wildkat. Of course the Johnny A's are made with great wood. JA tops are thin solid maple (or mahog on the Std) rather than being laminated like the plywood tops of the ES series. Great guitars - the longer scale length and ebony board add extra brightness and snap which complement the 57 Classics perfectly. I wanted one of these for quite a while; finally snagged one without a Bigsby coupla years ago. You don't see many of these for sale (because people love 'em and won't willingly part with them) and to find one with a stop tail piece felt like catching a unicorn. Very happy with it.
  8. Guitars are very personal. He'd be much happier to know his guitars are with you than with some stranger.
  9. George was a great player and songwriter after the Beatles, and I think many nonmusicians fail to fully appreciate his role in that band's chemistry and greatness. He was also a good man in my book quite aside from all things musical.
  10. George is correct; there were at least four different sets of limited-production "pre-Historic" reissues made at the time, separate and distinct from the Heritage Series. Yours has a lot in common with the one I got through Guitar Trader in '83. It will have the long tenon neck joint that helps to make these more consistently lively than regular production; this can be seen inside the neck pickup cavity. And looking at the binding in the cutaway, it does not widen to cover the seam and you can see the edge of the maple cap under the finish. They also have vintage-style lightweight aluminum tailpieces. Being hand carved, scalloping of the tops and neck profiles varied a bit from one to another. The top on mine is dished out quite deeply and when I was gigging it every night I used to get lacquer rash on my forearm from the edge of it. After the first year or so that spot got worn down to the wood and then it didn't bother me anymore. One detail that sets the pre-Historics apart: if you remove the brown control cover they have a body number imprinted in the wood under the finish at the edge of the control cavity. Another difference from the later Historic series is that these use the heavier Nashville bridge, with supports set into anchors in the body rather than being screwed directly into the wood like the ABR bridge supports. I think the Nashville design sustains better and to my ear it has a slightly richer tone - I prefer them to the ABRs, despite not being period correct for a '59 reissue. The Shaw pickups sound great. Low wind, airy sound, super dynamic & articulate. My '82 Moderne came with Shaws also. Like the old pickupss these are unpotted and they're prone to squealing at high volume. (If you decide to pot them, be very careful cleaning off the excess wax - on one of mine the inked numbers got wiped away.) A small number of the first Guitar Trader pre-Historics were built using actual original PAFs, Gibson's old stock leftover from the late 50s. Wish I'd gotten one of those!
  11. To me it looks as if the body shape was inspired by a Hamer Sunburst; it has similar cutaways. I like the abalone at the edges of the fretboard and around the headstock. These days that type of inlay is mostly being done by the Chinese builders, because labor is cheap there and there are is regulation about harvesting abalone. It's a shame it has a fake logo - since it's a good instrument the maker should have had pride enough to put their own name there. Especially since the guitar could never pass for a Gibson.
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