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AlanC

Installed an ebony bridge on my Tal Farlow

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Got the idea from L5Larry in the thread below on L5 pics where he'd changed out the metal bridge for an ebony bridge.

 

So I decided to do the same but on my Tal Farlow. Replaced the chrome bridge and its rosewood base for an ebony bridge and ebony base. I acquired genuine Gibson parts. The mod has really brought the guitar to life. Luv the tone. Sounds better acoustically and also is great thru the amp. Woody tone with more clarity and character and probably less sustain but I really haven't noticed that.

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Alan, although accurate sound reproduction via the innerweb is a challenge I'd love to hear what it sounds like.

 

Larry - I tried to check out that LaBella site, and it crashed my computer totally. I mean I had to power down, and restart?? Yikes.

Anyway I wonder what your feelings are on a bone nut for an L5? I am assuming in spite of the high price tag my new L5 has some sort of plastic nut. First up I am going to try some flat wound strings and then maybe to the LaBella's after that, but I could see a wooden bridge and bone nut in my future.

 

And yeah Alan, we need photos of the mod.

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Larry - ... Anyway I wonder what your feelings are on a bone nut for an L5?

 

I have no idea. All my Gibsons still have the factory installed nuts made of "whatever".

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I did the same on my L-4CES after a thread Larry started a couple years ago. I picked up a NOS Gibson 2 footed ebony bridge and base and fitted it to me L-4. The change in tone was and is dramitic. I have gone back to the orig. bridge for a while just to go back to the ebony bridge. Now I have my first set of flatwounds on the guitar, also a dranitic change but not as much as the changed bridge. Thanks John

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Got the idea from L5Larry in the thread below on L5 pics where he'd changed out the metal bridge for an ebony bridge.

 

So I decided to do the same but on my Tal Farlow. Replaced the chrome bridge and its rosewood base for an ebony bridge and ebony base. I acquired genuine Gibson parts. The mod has really brought the guitar to life. Luv the tone. Sounds better acoustically and also is great thru the amp. Woody tone with more clarity and character and probably less sustain but I really haven't noticed that.

 

I put a rosewood bride and bridge base on my 175 and it's actually brighter and I took it off. I was going to try the same thing on my Tal Farlow but decided against it. I'm glad yours turned out well.

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My Gibson Super 400 CES came with two bridges when I got it. The Tune-o-matic is sitting on a ebony base, then there is an ebony bridge in the case. I do not know if the guitar was shipped that way to the original owner, or, if he had the ebony one made for it. It is nice to have both, I can easily change the bridge and experiment with different sounds.

With flatwound strings the Tune-o-Matic gives a lot more sustain, and is preferrable if your style involves legato, long sustained notes. The ebony bridge is at its best with roundwound strings and played with little stronger right hand - with this setup the guitar is as loud acousticly as a good flat top.

Does anybody if Gibson ever shipped S-400 CES or L5 with two bridges?

Hannu

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My Gibson Super 400 CES came with two bridges when I got it. The Tune-o-matic is sitting on a ebony base, then there is an ebony bridge in the case. I do not know if the guitar was shipped that way to the original owner, or, if he had the ebony one made for it. It is nice to have both, I can easily change the bridge and experiment with different sounds.

With flatwound strings the Tune-o-Matic gives a lot more sustain, and is preferrable if your style involves legato, long sustained notes. The ebony bridge is at its best with roundwound strings and played with little stronger right hand - with this setup the guitar is as loud acousticly as a good flat top.

Does anybody if Gibson ever shipped S-400 CES or L5 with two bridges?

Hannu

 

"Ever" is too strong a word to use when discussing what Gibson might have shipped, but in general Gibson shipped just the one that was on the guitar, assuming it was a production instrument.

 

Danny W.

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Please excuse me -

 

Some guitars just take to it. This is a late 80s Knight (English) archtop which just sounds so much better with a wood bridge:

 

BlondeKnightFeb13web_zpsef568bf7.jpg

 

P/Us are Schaller Golden 50s (which are microphonic and it works great).

Strung with Thomastik tapewounds (but I'm gonna get those black LaBellas for Xmas), sounds like a big acoustic guitar even through a Twin.

24 frets, shallow body; superb, amazing.

Knightblonde2011.jpg

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Finally got around to providing a photo of the mod.

 

DSC_0002_2_zps167db93d.jpg

 

Sorry not a great photo for the detail but…. the guitar plays great and is so much better with the ebony bridge

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I'm alwasy curious and you would be the person to ask. Do you hear and feel much difference between your Tal Farlow and your L5 CES? I realize the Tal is all laminate but they seem to be about the same size as far as scale and body. Also are the pups the same? Thanks! [thumbup]

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I'm alwasy curious and you would be the person to ask. Do you hear and feel much difference between your Tal Farlow and your L5 CES? I realize the Tal is all laminate but they seem to be about the same size as far as scale and body. Also are the pups the same? Thanks! [thumbup]

 

Hi Sleeko. I have a few Gibsons and I find that they all have a unique sound. It seems to me that '57 Classics sound different between two guitars of the same model.

 

So there is a difference between my L5 CES and my Tal Farlow even though they both have '57 Classics but this difference is made greater because the models are different. I actually gig with my Tal Farlow for a variety of reasons. It's lighter and I think slightly thinner than my L5 CES which is quite heavy. Sound wise they are different and I like both but I've now been using the Tal Farlow for gigs for the last 2 years and really like it. I did change the bridge to give the guitar a more individualistic woodier tone which I'm happy about. Both the L5 CES and Tal Farlow have great necks.Also I think that I would be more nervous about the risks associated with the taking the L5 to gigs.

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Hi Sleeko. I have a few Gibsons and I find that they all have a unique sound. It seems to me that '57 Classics sound different between two guitars of the same model.

 

So there is a difference between my L5 CES and my Tal Farlow even though they both have '57 Classics but this difference is made greater because the models are different. I actually gig with my Tal Farlow for a variety of reasons. It's lighter and I think slightly thinner than my L5 CES which is quite heavy. Sound wise they are different and I like both but I've now been using the Tal Farlow for gigs for the last 2 years and really like it. I did change the bridge to give the guitar a more individualistic woodier tone which I'm happy about. Both the L5 CES and Tal Farlow have great necks.Also I think that I would be more nervous about the risks associated with the taking the L5 to gigs.

 

Good to know and thanks for the info Alan. I concur about the heavyness of some guitars as my L4CES is quite hefty. Actually all four of my guitars have some weight to them. I've had some in the past that were quite light.

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Good to know and thanks for the info Alan. I concur about the heavyness of some guitars as my L4CES is quite hefty. Actually all four of my guitars have some weight to them. I've had some in the past that were quite light.

 

Sleeko have you got a pic of your L4 CES. Mahagony?

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...my L5 CES which is quite heavy....

 

Yes, I remember when first getting my L-5CES thinking that it was a lot heavier than I would have expected.

 

I attribute that (right or wrong) to the hardware and pickups. I also think that a "CES" model will have a thicker carve on the soundboard to accommodate all the holes cut in it for the electronics, and the weight of the two humbuckers.

 

Alan.... I've got to ask. How's the intonation on that factory carved bridge (especially the "G" string). The reason I carved my own was the fact that I was not satisfied with intonation from the "standard" offsets of a store-bought bridge. In fact, the first one I carved was an ebony duplicate of the rosewood bridge on my '47 L-7, and although I did not expect the first try to be a keeper from the woodworking perspective, it was also a reject from the intonation standpoint.

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Sleeko have you got a pic of your L4 CES. Mahagony?

 

 

I have the maple back and sides. Here's a few shots;

 

DSCN0172_zpsca8fe6dc.jpg

 

 

100_1529_zpsa37201a0.jpg

 

 

018.jpg

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