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Trapland

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About Trapland

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  1. Hi i'm Anna.

    I am lооking fоr a gуntle and SEXy man

    My profilе is herе https://sex-gibson.tumblr.com

    Kisses Trapland

  2. Trapland

    MHS pickups

    Sorry nobody answered. In my opinion, no. I’ve watched a video by Memphis staff where the guy said they were made in-house in Memphis. The first 4 guitars I’ve bought that came with them sound absolutely nothing like Custombuckers. In fact I love Custombuckers but have absolutely hated all 4 sets of MHS. They were very muddy, wooly yet has a crazy amount of string noise while having little highs. Played clean, with the bass knob off, not too bad, I kept them in my ES-175 and switched to flatwounds. Now surprisingly, I just picked up a figured 335 with MHS and they sound great.....so I can’t say they all sound bad to me. The new guitar still has excessive string noise, call it air, but is much clearer overall with more usable high midrange tones. Do they sound like Custombuckers? No way. In my opinion Custombuckers are the best sounding pickup, period.
  3. Trapland

    First ES guitar

    I’ve played a bunch of 335sin the last year, bought a couple too. In my opinion it’s all about the neck. Rounded C is a pretty nice all around neck and I bought one. I like Historic LP large necks, but hate the huge shoulders that seem to be in all the newer Memphis and USA Gibson necks. The rounded C is a rounded medium size and some havegentle shoulders. If you like larger strat necks you’ll loverounded C. If you like super slim, you won’t. As far as reissue models, the late 60s-70s are quite small and the early 60s are big shouldered flat back (not like the originals). The 50s reissues are massive. Pickups and controls can be changed, necks not so much. I usually play a few unplugged. If it sounds good and plays good, the rest is part of the fun.
  4. I know it's an old thread but the idea that there is a harness is laughable. It's a made up term that sellers use to generalize a group of parts that they believe are too complex for their customers to assemble. Look, if you can solder, and follow the most basic of diagrams, you can install all of the electronics in your guitar without any need to build a magical "harness". As far as what it will do for you, ... ....well the wire itself that Gibson uses is excellent quality. There is no measurable difference in Audi frequencies between Gibson shielded wire and anyone else's. And in cases of RF leakage the Gibson braided wire might be superior to so,e aftermarket offerings. Gibson switches and jacks are excellent Carling and similar quality. Nothing significantly better is offered on the aftermarket. That leases 2 items. One is capacitors. Notwithstanding the rated value, most good guality caps are going to sound identical (and look so on a scope) at audio frequencies. Some cheaper or vintage or out of spec caps can have measurable inductance that might vary at a given frequency and give those caps characteristic behavior. Also you can simply change values toget different effect and that is worth trying. Similar value caps MAY HAVE VERY SUBTLE differences, most won't hear it, a few will THINK the do (and got their money's worth. Now potentiometers. This is the one part of the electronics that can have a large effect. Gibson uses CTS pots, a quality brand by anyone's standard. Over many years past they have used some pots that were very low value like 300kohm or even 500k with such a wide tolerance as to get as low as 400k.200,100, heck even 50kohm difference in value can have a big effect on tone. The higher you go the brighter and louder your pickups will sound. Get too high like 1 megohm and the get harsh. If a guitar has a dull lifeless or even downright muddy sound, replacing pots before pickups is almost always the best choice. Once you have the jangle you need then you can try pickups for more loss, mids weaker or hotter output. So to summarize mostly all anyone really needs is the pots and maybe only the 2 volume ones at that. Why would you pay for yards of wire, overpriced caps and extra pots you don't need put together at a labor rate a nuclear physicist makes when a few minutes with a soldering iron can replace those volume pots for $20 and get at least 99% of the change? Just order anyone's Vintage style audio taper 550k pots and you'll be fine. Or if you truly want to pay $200 for $50 worth of parts, most of which you already have, go for it. Gibson current offering for parts are excellent. Don't change them unless you just have to fix things that ain't broken.
  5. I'm not generally a fan of red. I own a Gibson 59 reissue ES-175 in natural that is gorgeous. Having said that, your red Epi 175 is even MORE stunning! It's simply one of the most beautiful guitars of any model or style I've ever seen. Amazing. Enjoy it.
  6. My es-339 came with 57 classics. I REALLY didn't want to go through the pain of changing them but they were so dull and lifeless. Not too bad playing alone, but just didn't stand out in a mix. I changed to BB2 and 3 but the neck was way too hot, couldn't get a decent clean tone. Changes to Bb1 and bb2 and it was magic. Chime, sparkle, yet plenty of warm drive. I like them in a semi hollow a whole lot.
  7. I know this thread is getting a bit older, but I have to toss a couple thoughts out there. The usual cautions about norlin era guitars are less of a thing on archtop and even many semihollows. Don't summarily rule out Norlin archtops, judge each on its own merits. Consider construction materials and design changes and see if they suit you. Many people like small maple necks as an example. Having owned archtop from the 50s and a few from the last few years, the current crop are EXCELLENT! I will take my new 1959 ES-175 reissue, or a ES-225 in a heartbeat. I like vintage archtops, they're excellent, but so are the new ones. I have many Gibson Historic reissues, play and gig them all and also vintage Gibsons and at least amongst the ones I own or owned, the newer Memphis crop is every bit as well made as "back in the day". Some may be better. Memphis guitars are lovely professional grade instruments. I love my 59 reissue es-175.
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