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dnr

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About dnr

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  1. As per usual there are a lot of different opinions and prejudices on display here. I own a couple of 335's, a 330 an L4 and a 1951 175. I love them all. But, and it is a very big but, the majority of Gibson's I have tried have not been as good as I would have expected. You really have to search for a good 335. Believe me there are not that many really great ones out there. The good ones tend to be kept. I know cos I'm keeping mine. Now this could be set up issues, however, I do think that a lot of it is down to quality control. I spent a year trying to find a good "1973" block reissue as a good friend of mine had one I really loved that was made in 98. All the ones I tried just did not have that mojo. I went to Coda Music in Stevenage UK and tried every 335 in the shop and did not like any of them. One of them even had a slightly twisted neck. I was about to give up when I made my friend a really generous offer and he agreed. There really is little point in asking whether to buy an Epiphone or a Gibson 335. You need to get out there and try them yourself. Only you will know when you find the right one. I mean online everyone is an expert - in their own opinion - which will get confusing for anyone expecting an objective reply. Do yourself a favour and go out and play a few. Try some of the Eastman versions. I have played their version of the 330 and it was great - however not cheap. Actually the best made guitar I own is an Ibanez PM 100 which I bought after a casual play without any expectations.
  2. timmilesmusic I am a bit late to this. Having been a Tele, Strat, Musicman player for many years over that last ten years I have fallen in love with Gibson semi's. I found that there were adjustments to make. I have to say that I was looking for a thicker kind of sound for the jazz/funky stuff that I was doing at the time. It also depends what kind of sound that you are after, whether you play clean or like a little dirt. I happen to like both. A lot of the solution lies in the set up and strings as has been mentioned. Certainly I would say get rid of the awful Elixir Nanowebs. I use D'Addario 10.5s or 11's. These will give a similar tension to the 10s on a Strat or Tele. The 335 responds well to theses slightly bigger strings. Secondly the way that you set up your amp makes a vast difference to the sound and feel. Settings for a Tele and a 335 are quite frankly incompatible. I always set up the amp a little brighter and less bottom end, especially when using the neck pickup. On small amps especially it is important to cut back the bass to avoid the muddy bottom end. I often use a compressor and the volume/tone controls on the guitar to fine tune from the guitar end. The 335 can clean up nicely with a turn on the volume control when using a drive sound. I don't agree that 335's have a narrower tonal range when you take the amp into consideration. Actually you will find that with more volume you will get a very responsive sustain from acoustic feedback and everything will sound bigger that a Stat or Tele can manage (without help). Persevere with your 335 and you will be rewarded with a sound that will complement the sounds of the Fenders in your collection. Listen to the playing of Robben Ford whose sound with the 335 or Epiphone Casino is beyond compare.
  3. My 330L does buzz slightly., However as I am not hearing it through an amp I'm not too bothered. My 335 has a buzz, as does my 1951 175 and my L4. Interestingly my Ibanez PM 100 doesn't. None of them get in the way of playing. I have to say that I am loving the 330L. It seems to be much more expressive than the 335 with a tone to die for. I used to have a 1959 330 in the late 70's early 80's. Like an idiot I sold it to get a guitar synth. I know, what was I thinking! the single biggest regret I have my guitar buying and selling experience.
  4. I can't understand some of the comments about Teles. It seems to me that many of those people who are not keen probably have not experienced the right combination of Tele and amp. I have had a number of Teles over the years and I have a few preferences. Choose one that is light (alder) with a nitro finish. I prefer a maple board with medium jumbo frets, but some rosewood boards can be a really nice flavour. Make sure you have the ashtray bridge with compensated brass saddles. I have upgraded the pickups on umpteen Teles and my preference at the moment is a Shed Esquire on the bridge and a Florence Voodoo ST 60 Strat pickup in the neck position.The Shed is a bit micro-phonic but the sound is to die for. Quite hot with some heat behind the sound but incredibly articulate. I would prefer an aged butterscotch, however at the moment I have a Japanese JD that I have refinished with red nitro and added a forearm comfort contour and even managed to find someone to redo the binding. Teles are there to be modified and experimented with - something I really would hesitate to do with my 335. There is something about the bridge pickup that has a sweetness and power that no other guitar can match. If there is a Gibson equivalent it might be the the Les Paul Special - but I never could get the range of tone I can get from the Tele. A guitar like a Tele is a journey you take over a lifetime.
  5. I have tried a number of different sets recently. I have gravitated towards a slightly customised set. Basically D'Addario Chrome 12's with the 24w replaced with a 22 plain. I have found that the 24w G string had so much more tension than the rest of the set that it sounded louder and punchier and felt a lot tighter too. The 22p seems to match the other strings both in volume and tension. Plus it is nice to be able to bend it should I feel so inclined.
  6. Artfulman $11000 that is a lot of money to pay for an L4. Much as I love my L4 I would buy a Super 400 or an L5 for that kind of money. To be honest I bought my L4 Custom Shop for £1750 secondhand about eight years ago. In the same deal I bought a Guild Artist Award for £2500. My problem with spending a lot of money on a guitar is that you do spend time worrying about imperfections rather than just getting on with the playing. I would rather chase down something I want secondhand. I suppose I enjoy the hunt and the deal as much as anything. Also like Keef Richards I don't enjoy the playing period so much. I have just picked up a 1977 175 signed on the back by Scotty Moore. Funnily I am enjoying playing that more than the L4. By the way my L4 buzzes - the pick-guard area. I can't hear it through an amp so it doesn't bother me much.
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