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Everything posted by fromnabulax

  1. Morbe, while I did suggest the roller bridge as a possibility, I sure wasn't screaming about it. As a point of fact I have never bought a roller bridge for any of my several tremolo equipped guitars ever. Not Fenders, not Gibsons, not Epiphones, and I have never experienced any severe tuning issues due to the use of a Bigsby, or any number of tremolo systems. The nut can be an issue, but string grab at the bridge has never been a problem. String grab at the nut can be a problem without the use of a tremolo. If you've ever tuned any guitar and heard that annoying ping and a quarter tone jump in pitch you know what I mean. I have an Eastwood Airline reissue that came with a roller bridge installed new, and I honestly can't tell any great difference between a stock tune-o-matic and a roller bridge.
  2. Just picked this one up at a very good price. All original, pots are clean, and goes real well with Jazz, Blues and Country twang. This one's a 1963 ES125TDC, making it the baby of my 125s. I just love them 'ol 125s!
  3. I just added a new one yesterday. The previously posted guitars are at the bottom while the new cherry burst is a 1963 ES 125TDC. 1956 ES 125 deep Q 1960 ES 125T thin 2013 ES 175 I've also got a few Epiphone ES and ES style guitars.
  4. I don't know how you play, but keep in mind that a Bigsby is not constructed to be used like a more modern tremolo system. It's not built for dive bombs or octave and a half pulls, just a nice gentle tremolo. Make sure your strings are properly stretched with not too many winds at the tuners. No more than three winds is a good rule. The more winds at the tuner, the longer it takes for them to stretch. New strings need to stretch, but in time will settle in. Maybe you're using brand new strings and they just need to be properly broken in. Try using a graphite pencil in the slots at the nut. It can help the strings ease their way back to proper pitch after the Bigsby's been used. There are products you can buy to help with that, but a regular old pencil ought to do the trick for cheap. Are your strings strung properly on the Bigsby unit? I'm not trying to be insulting here, but I have seen several new players to the Bigsby set them improperly raising the action badly and leaving the guitar virtually untunable. You ought to be able to find YouTube videos showing the proper way to thread your strings under and over the Bigsby roller. Check those out if you like. These are the first things you may want to check. Another more expensive proposition is the purchase of a roller bridge. Rather than stationary saddles, the roller bridge saddles actually do spin as the string gets pulled back and forth with Bigsby use. Undoubtedly others will chime in here with suggestions, but the above are just a few hints to help you out, and they just may be all that you need. Good luck, and post what you learn. You may be able to help out someone else with the sane issues.
  5. I know this is going to sound stupid but, have you tried turning it down at the guitar when your hammering the poor ol' gal?I mean really turn it down? Like on a scale of 1-10 with 10 being loudest, way down to below 1 and ever so slowly cranking it up?
  6. And that is an amazingly beautiful guitar! Man, what a beauty. Really, just stunning.
  7. I had it so bad that in 2007 I had myself checked into the Mayo Clinic in Rochester Minnesota on a locked unit with ten other folks who could not quit on their own. It was one of the more brutal periods in my life, and I have never smoked since. There are times when the craving hits so hard that I almost drive off the road, but still have not succumbed. I always tell folks (and myself) that much like an alcoholic, I am still addicted, but have not smoked today. Congratulations and good luck.
  8. Okay experts, here's some fresh meat. I bought it last year. Much of it is after market add ons. Tuners, bridge, saddle, all after market. I myself had it freshly rewired with new pick ups, so really about all that's left and original is the wood. I figure it's a 1992 but dater project doesn't recognize it as a genuine serial number. The guitar has aged very nicely, the original frets are still on there with the original nibs intact and the 5 piece neck sets it all off with a touch of class. Aside from that, the beast plays and now sounds incredible. Any info would be considered helpful, and thanks.
  9. James Whyld Lea, "Therapy." A truly fine fairly recent solo CD from the musical brain behind Slade.
  10. I was one if those young Beatlemaniac's that completely sanded down an old beat up acoustic Yamaha I used to have. After all, if John said it was better.... In truth, it sounded pretty much the same, but it actually felt better and fretted more easily without a gallon of sticky finish on the neck. It also left every bit if sweat, grease and gunk visible as well as ingrained into the wood. I figure this whole satin finish thing is simply the latest fad. They come, they go.I'm not real fond of the satin finish overall, but I do have a nice new Martin 00015 SM which is actually suited to it. Does it make the mahogany sound any better, or any more like mahogany? No, but on this guitar it's pretty. On my Gibson Les Paul 50s Tribute, not so much. As to ripping out the battery case and soundhole preamp on tat Martin, I wound up doing the same on my Gibson J200. I replaced all that glued in stuff with a Baggs M1A and never regretted it. I have a Baggs M80 on order now Which I'll try in there next and if that works out I'll pop the M1A into my Martin D35. I actually and honestly prefer the Esonic stuff in my Epiphone EJ200 and DR500 MCE to that terrible stuff they built into the Gibson J200.
  11. One of the issues I had with my recent Gibby J200 was the soundhole mounted preamp. It was poorly glued and its weight clearly affected the tone of the guitar in an adverse way. I also found that the battery sack mounted on the inside if the heel was just plain awful. I am really curious to know how you feel about these on your new Epi. Thanks!
  12. Good Lord! Not so close to the fireplace!
  13. While I use different strings on different guitars, I have yet to find any string that makes my J200 sing, roar, and whisper like Gibson's own Masterbuilt Premium 80/20 .013s. I must've tried 4 or 5 different sets from various companies, but none of them has the pizazz and zing of these.
  14. [quote name='bobouz' timestamp='1428106534' post='1646445' As for Nick Valensi, he's the guitarist for a New York band called The Strokes (google for more info), and this model is based on his modified '90s Riviera with P94 pickups. I checked The Strokes out on YouTube. It cracks me up just how far apart our use of the instrument is, but it also points out just how versatile a guitar this one can be. Thanks bobouz.
  15. Thanks to a heads up here on another thread I saw that one of these Valensi Riviera P94s was currently available used online through GC. I've had a 50/50 batting average buying used from GC online so I was a bit wary, but since they've never argued with me over a return, I figured I would jump. First I gave our original poster 48 hours time to buy it for himself. I didn't want to mooch in on his dream guitar, but after seeing it was still available after a couple if days, I jumped on it. I am surely glad I did. This 2011 Usong Korea made guitar is everything my P93 Riviera is not. It's a beauty to look at in spite of its somewhat orange tint, it has been expertly set up with perfectly spot on intonation and action, and there is not a single mark anywhere on the neck fingerboard, or body, with what appear to be very few pick marks on the guard. The previous owner upgraded the strap buttons as well as the tuners. The guitar now sports Grover keystones that are a perfect match and to my mind a touch of class to the headstock. The metal E insignia has also been removed from the pick guard. Plugging it in, it has all the warm buttery tones that I love and expect from P94s. The neck is fast, and that frequensator adds just the right amount of warm low end resonance to turn this into a lovely sounding and playing jazz guitar. I don't actually know who Nick Valensi is, so my only expected modifications will be to get myself a solid black truss rod cover and remove the pick guard entirely, which I usually do all my archtops. Here she is now...
  16. It absolutely no exaggeration that the ES175 was the culmination of a lifetime's worth of fantasizing and dreaming. Even during my Punk Rock days all I really wanted was the ES175. The tone, the playability, the history, the looks, it's the one electric I had craved since even before I started playing. When Gibson Memphis rolled out a small batch of the P94 models I knew that it was likely to be my last best chance to snag one, and in natural its beauty left me blinded with awe. I think I posted elsewhere that I found a very good price online which Musician's Friend matched and as it was Thanksgiving weekend they discounted another 15% on top of that. I don't play it for everything, but I have never been disappointed with the purchase for even a moment. It is absolutely my very favorite electric guitar, and I can think of no modifications I could make to improve it.
  17. As truly excited as I was when this guitar was first announced, after the crud I dealt with on my Gibson J200 sound hole preamp (detailed somewhere in the Gibson acoustic forum under someone else's complaint about short battery life), I will never again buy any guitar with a sound hole preamp, or anything else that is actually glued (or mis-glued) to an acoustic guitar's body other than bracing.
  18. 1956 ES 125 deep 1960 ES 125T thin 2013 ES 175 I've also got a few Epiphone ES and ES style guitars.
  19. D'Addario Roundwound .011s on all solid body electrics and a couple of semi hollow bodies, including an electric resophonic. D'Addario Chromes Flatwound .011s on all hollow bodies as well as a couple of semi hollow bodies. Round .012 phosphor bronze on some older antique flat top acoustics. Round .013 Phosphor Bronze on Martin D35 and two different Epiphone EJ200 flattops, a couple of old archtop acoustics as well as an acoustic resophonic. Round .013 Elixer Nanos on a Taylor 810 and Epiphone Masterbilt DR500 MCE. Gibson Masterbuilt Premium .013s on the Gibson J200 Standard. D'Addario Pro-Arte .0280 Nylon on the classical and flamenco D'Addario EXP .011 on the mandolin Danielle Mari Spiral 2000 on the charango GHS .011s on the banjo D'Addario .010s on the 12 String D'Addario .010s on the high strung Nashville tuning guitars Fender or Rotosound mediums for the bass. And I honestly can't remember what I last used on the autoharp.
  20. I've got a old parlor guitar of indeterminate origin. I got it for under a hundred bucks in a junk store some years back. It was in pretty bad shape. I couldn't tune it to pitch, there was a rough looking crack on the top of the body, the neck was screwed, not bolted, but screwed with a wood screw through the heel to hold the neck on, the top was completely bowed, and the binding around the neck was loose and in some cases missing. I brought the guitar into a great luthier I had worked with before in the Los Angeles area. He worked on it on and off for several months. The repair work cost me far more than the initial expense but he turned it into a perfectly fine working and very nice sounding guitar. The secret to the repair work started with the same Bridge Doctor unit you refer to. That thing is a miracle of engineering. It not only saved the top of the guitar, it also clearly improved the tone and overall volume of the guitar.
  21. All the different cases I tried were just barely to shallow. With no bridge they would close just fine, with the bridge in place there was perhaps a 16th if an inch to much height. With a softshell case I could have possibly just latched the top, but of course I sure as heck didn't want to damage either the bridge or guitar. I tried at least dozen cases, I even tried a few of those Eastman cello style cases. None would latch. Even G and G while using an existing template for shape had to custom cut me a case for height, and now my own guitar shape and dimensions are forever stored as a template in their factory.
  22. i just wanted share a few pics of one of my favorites. I've owned it for about 5 years now. The only problem I had was finding a good case. The case it was shipped in only worked with the bridge off the guitar. Problem was that this one is not only anrchtop, it's an archback as well. I was living in Los Angeles at the time which is the home of G and G Quality Case, which is the company Leo Fender hired to make Fender cases going way back to the early 50s, and in fact they still manufacture the vintage reissue cases today. They custom built me a case from the ground up. The place was incredible. They had templates of every single guitar case, custom or otherwise, they had made since they started in business. And oh man, that new case smell? This place was just loaded with it. They made me a tweed case with a hot pink fur interior. It was costly but the case is built like a tank, and will be around long after I'm gone. The complete description of the guitar as well as these photos are still online at the Archtop.com site, so you can read all about her there: http://www.archtop.com/ac_38M5.html And here are just the pics for the voyeurs amongst you (us)... I don't know if you can really tell just how incredibly lovely that checkerboard binding really is. It runs completely around the entire neck, as well as the entire front of the body. In spite of the sellers blurb it actually could use a good fret job, but I don't want to damage or lose the fabulous binding or patina. I use this baby primarily for Jazz and Country. It's loud but not brash with lots of ringing mids. The action is a bit higher than I would use on a flat top. Hope you all like the pics.
  23. Here's my second attempt at a pic post. If this works I'll continue in the Gibson Acoustic forum... Well, I'll be darned, it works!
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