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About Filbert

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  1. On the left, yes it is. I had to buy one of those side by side guitar racks as keeping them on individual stands was taking up too much space. As others have said, it's the maple neck that causes the colour mismatch. The reason it confused me was I had a 2015 SG (now sold) and that didn't have a colour difference. Furious Googling tells me that the Specials have maple necks, the Standards have mahogany necks, same as the body.
  2. Agree, I have my 2015 LP in the more 'traditional' burst-type colour but I wanted to go for something different with my 2019 one. I really like both the Blueberry and Seafoam colours so it was a toss-up for me which one to go for. As for sounds, again, the push/pull pots and dip switches do divide opinion but I love the granularity it can add to getting the right tone. I have owned and played 5 LPs and SGs in the past 4 years and from personal experience and the setup i have at home, I know that humbuckers can have a tendency to get quite brassy and piercing in the higher pitch note range but my 2019 is a wonderful exception. On my other guitars, I almost always have to roll down the treble and I very rarely play on the bridge pickup - it's almost always middle switch position or neck pickup - but with the 2019, I barely have to do that at all; it's not harsh at all and has a wonderful bass response and sustain. Overall, just a really nice package.
  3. I must say I have the titanium nut on both my 2015 LP Standard and my 2019 LP HP and I love it - I would actually goes as far as saying I prefer the metal zero fret nuts to 'traditional' ones.
  4. Yeah, it is a little odd because, as you say, there has been an attempt to match the colours. From other pictures I have managed to dig up on the internet (I managed to find an old Amazon listing), it looks like this colour mismatch was a common thing on the Heritage Cherry models. One thing that does surprise me, given the opprobrium that the 2015 models would go on to receive, is that I am unable to find anyone discussing or criticising this colour mismatch anywhere, not even on this forum. Maybe my search-fu is weak but I would have thought at least someone would have mentioned it somewhere. I mean, it's not a subtle difference!
  5. There's a bit of a difference but is not immediately eye-jarring. I think it is less to do with wear and more to do with sun fade on the finish. I have already given the guitar a good clean with Dunlop polish just to take some of the grime off and it has made a bit of a difference to the overall look. Edit: Pic with the pickguard off:
  6. Yes, I did that straightaway when I noticed the brass ones had already developed light wear after only a few months. To be fair, the Gibson Europe chap was brilliant - he mailed titanium replacements for my LP and SG immediately.
  7. I might need to do that anyway - it has a crack right around where the top mounting screw is so it is extremely fragile.
  8. Fair enough, thanks for the words of wisdom
  9. Cheers for the speedy reply. That makes sense. It's a shame they couldn't match the colour exactly but I guess at that price point, you don't get the high end finishes.
  10. Last thread from me today, I promise! I bought a 2014 SG Special off Reverb today as it was a very good price and I wanted one after selling my 2015 version. Anyway, I noticed in the pics and in other pics I have seen on the internet (that I could find!) that there is quite a distinct colour mismatch between the body and the neck and my guitar seems to be a particularly egregious example - see below: I just wondered a ) if it is normal (which I assume it is because I have seen other pictures showing the same), b ) what the reason for it was - was it a specific design choice or forced on Gibson by wood choice etc and c ) if the colour step is likely to fade or blend over time? It doesn't bother me that much - after all, the price was right but it is undeniably a little jarring to the eye to see.
  11. I have a 1939 Gibson L-30 and let me say straight off the bat, it's a lovely guitar; I have it set for Delta slide and it sounds wonderful. The (potential) issue is that it is a little bit of a beater, even compared to others from the same era that I have seen. All I can say is, mine must have been played a lot in its life as it is well-loved. It looks every one of its 80 years that's for sure: What's more, the headstock is possibly the worst part - the logo is very faded: So my question to you is, should I get the guitar re-finished or leave it as it is? Is it even worth getting it refinished? How much (ballpark) does such a thing cost? Should I leave the body alone and just get the logo touched up? Part of me wants to leave the finish as it is - it wears its scars well. But part of me also thinks the whole guitar would benefit from a refresh.
  12. I have always wanted a 'proper' Gibson, having only been able to afford Epiphone Les Pauls in my youth so when changes to my work life and moving house happened back in 2015, I suddenly found myself in a position to buy my first genuine Les Paul (and, as it turns out, a whole bunch of other Gibsons, Fenders and Martins ) so I treated myself to a 2015 Les Paul Standard. I have to say, it is one of my favourite guitars but one thing I did do, after buying it (you may say I got this backwards!) was to read some of the contemporary reviews; I was surprised at how much of a slagging off the 2015 range got. I was fortunate enough not to suffer any of the build or QC issues others reported and I quite like the robot tuners (and still do!) so it seemed to me the criticism was maybe slightly overblown. Anyway, step forward a few years and I recently picked this beauty up: A 2019 Les Paul HP and I was blown away by how good it plays and sounds. This month, the latest issue of Guitarist magazine arrived and they reviewed some of the 2019 Gibson Les Paul range (not the HP though)- and they only awarded them 8/10, which again, I found surprising. I really thought Gibson had turned a corner, and judging by the quality of my HP, I figured they really had. Maybe not, it seems? What is the point of this post, you may ask? Not a lot other than to say I consider myself a bit of an out-lier - I really, genuinely like the 2015 Gibson range, having played and owned a Les Paul and SG and I reckon it's because I bought into my Gibsons without really having any preconceptions as to what they 'should' be like so perhaps I was less perturbed by the non-traditional changes than others were. Different strokes for different folks is what I guess I am trying to say! But I still don't get the hate the 2015 range gets; I hope the 2019 range isn't judged the same way in time.
  13. Sounds OK but then again, I don't know how good my ear is! Cheers for the advice!
  14. OK that's kind of what I figured but I was worried that knocking it accidentally or placing it in the wrong place would bugger up the intonation. There does seem to be an obvious place to put it though - the finish and fading of the varnish is obviously different where the bridge has sat. I must say, it does look like remnants of glue there though, hence the question.
  15. I picked up a 1939 L-30 recently from Reverb and it arrived today from Spain. The seller has included both the original bridge and a rosewood compensated bridge but neither are attached to the guitar and it was shipped with slackened strings etc. I know it might be a bit of a daft question but should the bridge be glued down to the top? Or is it one of those floating ones that is held in place by string tension only? If it does need to be glued, can it be done simply and easily at home and if so, what glue to use? Or does it need to go to a proper luthier for fettling? Any advice appreciated!
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