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  1. So much misinformation in this thread. People. Get this through your heads. Sound is all just waves. Waves have two components. X and Y. Both analog and digital recordings produce distortion (also known as noise, also known as all that matters in this debate) in the actual waveforms being recorded or reproduced, they simply do it in different ways. The idea of a simple cassette tape (which, on average, has a frequency response around 16KHz) holding more information (What's that even supposed to mean? Less noise? Better frequency response?) than your average 44KHz 16 bit CD (which, with proper dithering, has an infinite gradation - just like analog - and a 22KHz frequency response) is laughable at best. Certainly, 44KHz, 16 bit audio has its limitations (only 4dB to hide aliasing noise in), but a correctly mastered recording will sound no different than an analog one, and a properly dithered and filtered CD recording (which can be a rare occurrence, specifically with older recordings) is capable of a lower noise level (read: all that matters) than the microphones or amplifiers themselves. Please read this. Actually, read everything under the 'myths' section. Steve Albini does not now, nor did he ever, record digitally, so the analog versus digital argument doesn't even apply to Walking into Clarksdale in the first place. That his recording of Jimmy Page's guitar sounds more like the live instrumentation boils down to a difference in philosophy: Steve sees the engineer's job as one of producing the most accurate reproduction of the actual sound as is possible, whereas a lot of your 'producers' of yore wanted to impress people with their ability to have their own 'sound' imposed on whatever band they were recording. I'll take Steve, thanks!
  2. ...And the Gibson forums have reached the year 1986.
  3. Oh, for the love of feck, mate, stop trying to be witty. Look, it's clear that I'm not articulating the way to attack this problem in a way that resonates with you. When I have time, later on today, I'll try to come up with a pictoral to show you what I'm talking about and why the exact model of guitar doesn't matter, and then we can get you on your way to setting up the guitar as you like. Sound fair?
  4. Uff da. People like you are why I end up with these "how the hell did this happen?" wrecks in the first place. It's pretty clear you have no concept of how guitars function, mechanically. That would be no problem if you didn't have zero willingness to learn because you're caught up on general repairs being completely different on different guitars - they're not. Have fun trying to sort your problem out. By the by, I've done plenty of work on a Riviera P93, if you absolutely have to have experience with a specific guitar family - but, of course, in your mind, the extra pickup makes the bridge function completely differently, and the different name and trim make the same fretboard radius a difference of night and day! "Wait, folks, you can't tell me how to tune a guitar unless you've tuned this specific type of guitar - the same Rotomatics works differently on it than they do on your SG!" I'll go out to FlightSafety and get myself an "Epiphone Casino Type Rating" next week, will that be good enough for the likes of you?
  5. What are you, 14? These things don't magically change because you're doing work on a specific submodel of guitar. But whatever - you still know absolutely nothing, and you're still a tool. Or, more likely, a troll.
  6. Well, since, in that situation, I'd have been smart enough to do what a competent luthier does and compensated the depth of the saddle slots to match the fretboard radius, which I'd have previously measured with a gauge, absolutely nothing but smooth playing would happen. Please feel free to reread my post, but this time with your eyes open - and also feel free to spell my name right, to make it easy, it's written right on each of my posts.
  7. An alpine white (not that yellow crap they call antique ivory), non-chambered-or-weight-relieved Gibson Les Paul Custom. To go with my (excellent) Orville. A Gibson L-3. A 1959 Les Paul Standard so I can replace the pickups with a 490R/498T matched pair and refinish it in Fender surf green polyurethane paint so I can make the boomers whip themselves into a hate-frenzy.
  8. Tune-O-Matic is a generic term for the Gibson ABR-1 and its descendants. You are describing the difference between an ABR-1 and a BR-030 "Nashville." Epis generally come with a metric version of the ABR-1, with some exceptions. Gibsons generally come with Nashville bridges post-1975, but some models still use the ABR-1. Gibson and Epiphone guitars generally have 12" fretboard radii. Some Epis will have a 14" radius. Use gauges to be sure. The saddle slots should be cut accordingly, but the most extreme difference between a 12" radius and a 14" radius is only about .005". ABR-1 bridges, Epi or Gibson, and Gibson Nashville bridges will all have 12" radius by default. Some aftermarket bridges will have a 14" radius.
  9. You can't really judge the state of music by top 40 radio. You can judge the state of pop music, sure, but pop music has been generally crap with some bright spots (and those'd be the ones that you remember) for decades. People like their music like they like their food... McDonald's style. And it's hardly a new phenomenon - hyper-processing was big in the 80s, too, lest people forget. People get their hands on new technology and go nuts with it. There will be a "course correction" eventually and things will cycle back and forth ad infinitum. Why do you think the grunge acts of the 90s rejected as much processing as their producers (who were arguably still stuck in the 80s then and still are today) would let them? What happened when Nirvana recorded In Utero with Steve Albini, who is pretty much synonymous with a lack of digital manipulation and processing? The label called it unreleasable. It was too raw. Too unprocessed. It needed polish! Louder vocals! Digital effects! It was not glittery and polished like Nevermind was, and Nevermind sold big time. Remember that the outlaw country movement of the late 60s was a reaction to a perceived level of craptitude on Nashville's part. It was felt that Nashville had polished and softened the medium. The best musicians are always playing at places like the Entry or the Triple Rock to small crowds, and most of them will fade away to all but a select few. Given that the vast majority of new-ish bands I listen to pride themselves on a lack of processing in their music, I'm going to call crap without waffles on Joe's conclusions. It's the same old song every generation sings about the generations that follow it. It's all just noise. It's too loud. Made by talentless hacks. Congratulations: you've become your parents.
  10. Jerry Cantrell. Aww, I bet I just ruined someone's opportunity to say Joe Perry.
  11. "That awkward feeling when you realize you've turned into your parents."
  12. Cosmetic, material, and dimensional differences (outside of the neck profile) won't affect playability, that's all in the setup and precision of manufacture.
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