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RJLII

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About RJLII

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  1. RJLII

    Semi hollow SG

    OK, How about ESG?
  2. I love my ES-335 Fat Neck and would like to find an ES-355 with the same girth. All I ever see are those thin '60s style necks and I just cant get along with them. Anyone ever seen an ES-355 fatty?
  3. I'm told there were only 60 made. They pop up every now and again. Asking prices vary.
  4. I found one of the '57 Historic TV Yellow Customs from the 2004 Sam Ash run. I could care less about the alleged rarity, but I've always loved the look and prefer nickel hardware to gold. One piece Mahogany body too. The hardware was pretty tarnished from too much case time, but once I got it all cleaned up and adjusted it turned out just fine.
  5. I'll play along..............
  6. I'm a hobbiest woodworker/furniture maker and I'm thinking the glue joint just failed. You'd be hard pressed to split a properly glued joint with the strap button screw even if there was no pilot hole to start with. Dropping won't have any impact (no pun intended) either. Proper glue joints are stronger than the wood. The glue let go and moisture got in, causing the wood to expand. The splitting on the binding is caused by the expansion of the body. Gibson should cover this.
  7. GHS Burnished Nickel. Nice tone, nice balance, great feel.
  8. Here's another one. It's a pickup demo rig. My local dealer had one a few years ago.
  9. Nice choice! The Bourbonburst looks great. I love mine.
  10. RJLII

    My LP

    Enjoy! I love mine.
  11. My 335 was made in Memphis, but I don't believe it has the "Memphis" wiring. All indications from the Gibson product page are that it has the '57 Humbuckers and regular volume/tone setup it's had since day one. Perhaps the guitar I played was a 359 rather than a 356? I could have had a brain cramp. In any case there were two distinct issue I had with the sound. First was the brittle nature of the tone (with all pots set on 10). I played it through a '65 Blackface Deluxe Reverb like I normally use. There was plenty of articulation in the notes but it lacked the "woody" undertones I was looking for. As I suggested in my earlier post, this may be due to the ebony fingerboard. My ear hears the same sort of thing on many Les Paul Customs with maple tops (the all mahogany versions sound better to me). I had a 40th Anniversary Les Paul with P100 soapbars and an ebony fingerboard and it was somewhat sterile sounding to my ear as well. YMMV. The second issue was what I perceived to be a flaw in the wiring. When the volume pots were turned down it turned the volume all but off at about 5 or 6. Tone was the same way, as there seemed to be no additional highs rolled off after about 5 or 6. I'm chalking it up to a chance occurance on the one instrument. I've had the same thing happen on seemingly identical Les Pauls, where one sounds lousy and the next one on the wall sounds phenomenal.
  12. I was poised to purchase a CS356 as depicted in Wondo's response above, but was sorely disappointed in the tone. I had researched the purchase quite a bit and walked in the store with the intention of walking out with the guitar. I did an A/B comparison with a figured top ES-335 and it was "game over". The 356 tone was rather thin and brittle by comparison, perhaps due to the ebony fingerboard? There were also issues with the wiring, where the pots were basically on/off switches for volume and tone. The salesman suggested it was a special "Memphis" wiring and pot taper setup that he had seen on other guitars. Hmmmm? Does this make sense to anyone else? It was really a shame, as the 356 played nice otherwise and was a real stunner to look at. Instead I left with the ES-335 figured top as shown below. No complaints other than I really prefer a rim jack like the 356 has.
  13. Not to wreck anyones buzz, but I've read a number of times that the majority of that album was recorded with what he called a "Tele-Gib", an old Telecaster that had PAF Humbuckers installed by Seymour Duncan. I know for sure that "'cause we've ended as lovers" was recorded with that guitar. Here's a link to a piece by Seymour that spells it out. http://www.ainian.com/jb4.html
  14. Your recording "Chester and Lester" with Chet Atkins remains a reference standard for those interested in hearing what virtuosity sounds like. Did you two have as much fun as it seems making this album, and what two guitar players of today do you see as qualified to make a contemporary version? Maybe Mark Knopfler and Johnny A? Note to forum - For those of you that haven't heard this recording, seek it out. It will blow you away.
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