pauloqs

Oh man that sucks. Hope the replacement procedure goes smoothly for you.

I'm having empathy NGD excitement. Please share your thoughts after you get a few hours playing your new SG.

@Black Dog shielding paint is dark matte black. So you’re absolutely right about it 1) not used on Reissues and 2) being very easy to identify. LP’s in the 50’s and 1960 were not shielded. Neither are LP Reissues.

What the title says. The new Brite Wires have a reinforced carbon core. Have anyone tried them yet? How does it compare with previous iterations of Brite Wire? I currently use D'Addario NYXL on most of my guitars, and D'Addario XL on the ones that get less playing time (just because they are a bit cheaper, especially with the 15% Stew Mac discount). I'm going to give the new Brite Wires a try. I have extremely sweaty hands and my sweat destroys strings really fast, so durability is really important for me. I did try coated Elixirs, but it was on an SG I didn't really like and ended up selling. I might give the Elixirs another go, but I'm not too optimistic about them.

I recently sold a 2018 SG standard, which I really didn't like. It felt like one of those guitars that you had to fight it a little bit to get something good from it. That might be suited for some people, but that's not particularly my favorite brand of bourbon. I don't think that is an issue with SG's in general as I've played some amazing ones before, but just an attribute of the one I recently sold. I'm seriously considering an Original Collection SG Standard 61 like the one you posted. I'm deliberately not trying one out for the moment for fear I might end up pulling the trigger a bit sooner than I want 🙂.

I liked my C-20 so much I got a C-22 as well 🙂. The C-22 is the most comfortable starp I've ever used followed closely by the C-20. The extra padding on the C-22 make it a bit more comfortable for me. The C-20 stays in place just a little bit better than the C-22. The Levi's stay in place even better than the C-20 because of the internal suede material on the Levi's. However, on a 8lbs 10oz LP, I had no issues finding a comfortable position with the C-22 playing for over 2 hours. I also noticed that the C-20 is a bit cooler, but that isn't to say that the C-22 get excessively hot. These are great straps at a very reasonable price. I ended up liking these straps even better than my Levi's, which says a lot. The extra padding compared to the Levi's really made the difference. Thank's for bringing them to my attention, Bill.

It’s still going. I never understood the motivation behind these things.

The 2018 tribute has no weight relief, while the 2017 has 9-hole weight relief. 2018 has the 490R/498T, while the 2017 has 490R/490T pickups. 2018 was the year Gibson introduced the cryogenic-ally treated frets, which at the time they alleged increased the life of the frets. Otherwise, they are very similar. I'd say you're good either way. Personally I prefer the bridge pickups on the 2018, which is what they are currently using on the Studio, but I prefer the weight relief on the 2017. One possible explanation for the different pickups is that in 2018 the LP Classic had P-90s, so the 2018 Studio got the 2017 Classic pickups, the Classic 57/57+ and,by transitivity, the 2018 Tribute got the 2017 Studio pickups, the 490R/498T. The Faded already had the same pickups as the Tribute in 2017, thus no change. If it were me, given the option, I'd go with 2017, but I wouldn't pass a 2018 if that makes sense.

According to this Intellectual Property expert there is no statute of limitation for trademark.

Solid Rock - Dire Straits Lyrics: "When you point your finger 'cause your plan fell throughYou got three more fingers pointing back at youI want to live on solid rockI'm gonna live on solid rockI want to give I don't want to be blockedI'm gonna live on solid rock"

This is very interesting. I'm curious to see how this pans out.

I think those come with Grover tuners, right? You’ll need to tighten the nut that holds the tuners on the face side of the headstock, as well as the screw on the back of the headstock.

I just ordered one. A C-20 in dark brown. It'll be interesting to see how these compare to my Levi's M4GF. I know Levi's is wider (3.5" vs 3"), but it looks like the C-20 has more padding.

Wow, this guitar just oozes character. Cute is a massive understatement.

When they came out, they were originally the pickups on the 2018 SG Standard, hence the name.

Very nice. Congrats. Regarding how the BB 61s compare to the BB pros, I personally much prefer the BB 61s. They sound more vintage to me. I think with the BB 61s they were going after the more treble usually associated with the 1960s LPs. However, they are not as treble focused or have the same output as a BB pro. The one thing I think the BB pros have over the BB 61s is the coil tap sound, which I think is a bit better and more usable. However, untapped, I think the 61s are amazing. They remind me a bit of a Classic 57 with a more tamed low end and a bit more treble, if that makes sense. Maybe a better comparison would be the love child of the Classic 57s and the BB pros. A bit more clarity than the Classic 57s, but not as "modern" sounding as the BB pros.

My 60th Anniversary R9 in Southern Fade

Just a clarification, these are not the Burstbuckers 1 & 2, like on the Standard 50s, but the Burstbuckers 61R & 61T, which is the same found on the Standard 60s. Year in, year out, the LP Classic are killer guitars. This year the Classics are essentially a Standard 60s with plain top and uncovered pickups. There are some other minor differences, but nothing that would take away from how awesome the LP Classics are. Another killer guitar that sometimes gets overlooked is the Studio possibly due to its more subdued look. I had one that I liked better than some of the Standards I played of similar "vintage." Maybe another reason the Studios get overlooked is due to the naming confusion of 2016. I've seen used Studio Faded and Faded being sold as Studios even by big popular stores. The Faded were great guitars, but I think the Studios felt more refined, at least post-2015.

I really like the new Standard 50s. The marginal changes have me liking it a bit more than the Traditional of previous years. For instance, the thinner neck binding give it a more refined feel in my opinion. The narrower headstock on paper deduces the lateral angle the D and G strings make after the nut. I like the new neck carve just a bit better. These weren't things that I thought it'd made noticeable difference before the new Standards were released and it surprised me how much I ended up liking those small tweaks.

Please correct me if I’m wrong, but isn’t it the case that you want to keep potential energy between the nut and the bridge?Any energy beyond the nut or bridge is energy loss? Isn’t that why there is the need to angle the strings beyond the nut and the bridge? You're absolutely right to want to experience it for yourself and not just take someone’s word for it.

They have just moved to 10s this year.

@Big Bill, you've mentioned spending on so many guitars you are going to end up living under a bridge with a huge collection of guitars. I know that sounds awfully hard to do. Having to protect lug around so many guitars can be pretty hard and strenuous. I've encountered a very reasonable solution for you. It's called Scarface. You can condense all those guitars into a single one, which would be a much easier task to do when you're living under a bridge. It's also the same price of a reasonably nice house in Oregon, at least for 2009 house prices. In case you're interested, here is a link to Scarface: https://www.chicagomusicexchange.com/listing/gibson-les-paul-standard-burst-1960-serial-07615/4491678

I'm still a bit confused. Could it be the nut slots still needs further reshaping? Have you completely eliminated the possibility that the nut slots aren't causing the instability? I'm not trying to invalidate your experience. I'm honestly curious. The reason I ask is that once I ensured absolutely zero nut binding on all my guitars and every Gibson and Martin I've worked on, there were absolutely no tuning issues. Granted, I've only started doing this type of work about 4 years ago, when I decided I was tired of paying a tech to do these things and have to wait to get my guitars back for up to a week, because of how backed up some of the techs get in my area. I also don't work on guitars professionally so I don't have the same volume as a professional tech. However, I enjoy working on guitars and have been setting up guitars free of charge for friends, bandmates and acquaintances I usually jam with. Conversely, I lost count on how many PRS SEs from 2015 to 2017 I had to reshape and lubricate the nut slots. The worst one was a guitar which had the slot for the high E so tight, the owner had to push his 9 gauge string in to fit inside the slot. Needless to say those guitars didn't stay in tune at all. As someone who geeks out with other guitar makers enthusiasts, beyond the guitars I've worked on, I've read of many people swapping nuts, bridges and tuners on those SEs to address tuning instability. I conjecture that in at least 99% of those upgrades could have been avoided with a proper nut slot reshape. I don't use nut sauce because I refuse to pay that much for a tube that little, which I concede lasts a long time. I personally use pencil led. I do that to all my guitars and guitars I work on, including PRS and Fender so I can't speak for a counterfactual where no graphite is applied to the slots. I use a 0.5mm mechanical pencil, which I use to paint the interior walls of the slots.

English is not my first language, so I can’t really tell if you’re being asked on a romantic date or challenged to a fight. Either way, it’s simultaneously amusing and sad. OP, the guitar is totally ruined. I’ll take off your hands free of charge. 😄

But you can’t attribute the problem to the design of the headstock. Once the slots were reshaped and lubricated, the problem went away, right? Some people argue that headstocks where the strings pass straight through the nut, like with Fender, PRS, Music Man are better and far superior designs that help with tuning stability. A poorly slotted nut will inevitably lead, regardless of headstock shape, to problems of tuning instability. Conversely, provided there isn’t any problem anywhere else in the guitar, such as the nut, a Gibson style headstock will be just as stable as other straight through designs.