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bigtim

Who has a Blueshawk and tell me your thoughts please?

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Looking for input from you that have a Blueshawk. Would like to know your likes and dislikes please. How much you like it compared to your other guitars and all. Thanks

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Looking for input from you that have a Blueshawk. Would like to know your likes and dislikes please. How much you like it compared to your other guitars and all. Thanks

 

 

I can’t get over the body to neck ratio...

 

Here is a picture of anyone over 5’1” playing one...

 

 

67-D911-C0-D51-B-4-E2-E-8-E37-EE32987-AD281.jpg

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I had one for a number of years. I was ok with everything about it except for it seemed more prone to noise. Even though it had a noise canceling coil in the back, it was one of the noisiest guitars I ever had. I ended up trading it towards a Les Paul. I have a SG Special with P-90s & my Blueshawk was much noisier.

 

OOIgLiml.jpg

Edited by Grog

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Well I got to say i laughed my a$$ off at the first reply!!! LOL I feel kind of that way myself. I started this thread because I purchased one. I like it and yes it is a small body for a fat dude like me but I like how it plays. Here is a picture of it. Now what I thought was a tone knob is some kind of pot that splits a coil maybe? And it has that variswitch thing that seems to put it out of phase. I have no idea. But this is a 1998 model and came with the factory brown hardcase. It is a cool little axe so far and for 600 bucks I thought it was a good purchase considering. I have already set the action and put new strings on it. He even threw in a strap and a new set of strings too!! I like it so far.qquJdOu.jpg

 

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I also have one, I kinda forgot I have it because it's buried in my closet. I used to play it a lot, nowadays my 335 and variants get most play time.

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Well I got to say i laughed my a$ off at the first reply!!! LOL I feel kind of that way myself. I started this thread because I purchased one. I like it and yes it is a small body for a fat dude like me but I like how it plays. Here is a picture of it. Now what I thought was a tone knob is some kind of pot that splits a coil maybe? And it has that variswitch thing that seems to put it out of phase. I have no idea. But this is a 1998 model and came with the factory brown hardcase. It is a cool little axe so far and for 600 bucks I thought it was a good purchase considering. I have already set the action and put new strings on it. He even threw in a strap and a new set of strings too!! I like it so far.qquJdOu.jpg

 

 

I am really into P-90's. The BluesHawk I think is the ultimate P-90 guitar aided by the vast selection of tones via the Varitone switch..

 

The Gibson BluesHawk using the Blues 90 pickups is an excellent tone machine, while there are a few things in the finish that could have been done better, the weight and playability are excellent. The Blues 90 pickups are a little noisier than I would have liked, but are able to provide usable high quality blues and metal tones.

 

The Epiphone Blueshawk being a 95% replica is a joy to play and fit an finish is very good. The P-90 Pro pickups sound the way you would expect P-90's to sound, so in that case its an exceptional screamer. The polyurethane finish is not bad and will never finish check. The Epi phantom pickup hum cancelling seems to work a little better.

 

My BluesHawk/Blueshawk are my favorites in my herd. After having them for a few years now, I could not do without either one.. I do tend to favor the Epi because of its more traditional P-90 sound.

EXDCmyN.jpg

Original BluesHawk Cases are very difficult to find, you got lucky. The Les Paul Chainsaw case below overall fit is pretty good. Currently they recommend an SG case, but I don't like the loose fit.

JERWz17.jpg

I also found that the standard Les Paul case works pretty well, even though the contours are different, it holds the BluesHawk pretty well..

Edited by mihcmac

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I really like how the bound neck looks on the epi version. It is a nice touch. You know I have never paid attention to these before really and like you have said all of them seem to come with a padded case or another case that does not fit correctly. I guess finding this one with the factory case is a pretty cool thing. The previous owner of this one changed out the gibson tuners to grover tuners. The original tuners are in the case pocket. The grovers are nice looking and do not look bad on this one either. They are tight too. I did notice that this one of mine really stays in tune well. I like it.

 

So I have not found much info on the control switch operation. Mine has a push pull tone pot. Does yours? I saw somewhere that with the push pull pot and the varitone switch along with the 3 position switch it gives you like 18 different sounds or something. Is that correct? Also are the controls on the epi version the same as the gibson version?

 

 

 

I am really into P-90's. The BluesHawk I think is the ultimate P-90 guitar aided by the vast selection of tones via the Varitone switch..

 

The Gibson BluesHawk using the Blues 90 pickups is an excellent tone machine, while there are a few things in the finish that could have been done better, the weight and playability are excellent. The Blues 90 pickups are a little noisier than I would have liked, but are able to provide usable high quality blues and metal tones.

 

The Epiphone Blueshawk being a 95% replica is a joy to play and fit an finish is very good. The P-90 Pro pickups sound the way you would expect P-90's to sound, so in that case its an exceptional screamer. The polyurethane finish is not bad and will never finish check. The Epi phantom pickup hum cancelling seems to work a little better.

 

My BluesHawk/Blueshawk are my favorites in my heard. I could not do without either one of them. After having them for a few years now, I could not do without either one.. I do tend to favor the Epi because of its more traditional P-90 sound.

EXDCmyN.jpg

Original BluesHawk Cases are very difficult to find, you got lucky. The Les Paul Chainsaw case below overall fit is pretty good. Currently they recommend an SG case, but I don't like the loose fit.

JERWz17.jpg

I also found that the standard Les Paul case works pretty well, even though the contours are different, it holds the BluesHawk pretty well..

Edited by bigtim
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I really like how the bound neck looks on the epi version. It is a nice touch. You know I have never paid attention to these before really and like you have said all of them seem to come with a padded case or another case that does not fit correctly. I guess finding this one with the factory case is a pretty cool thing. The previous owner of this one changed out the gibson tuners to grover tuners. The original tuners are in the case pocket. The grovers are nice looking and do not look bad on this one either. They are tight too. I did notice that this one of mine really stays in tune well. I like it.

 

So I have not found much info on the control switch operation. Mine has a push pull tone pot. Does yours? I saw somewhere that with the push pull pot and the varitone switch along with the 3 position switch it gives you like 18 different sounds or something. Is that correct? Also are the controls on the epi version the same as the gibson version?

The push pull on the tone control enables down and disables up the chicken head varitone switch. The varitone Position 1 is off or bypass. While the next 5 positions are filters providing a wide range of tones. There are quite a few youtube videos on the BluesHawk. I have found most effect with both pickups on and use position 5 and 6 the most while 80% of the time I have the varitone off or disabled. I punch it in a lot when playing high end lead to push clarity through everything else like a Strat does....

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Thanks for the input. I saw somewhere a pic and description of the controls for the epi version. I will go back and snapshot the image so I will have it for a reference. I really am digging this one. So much that I may go and sell one of my others off.

 

I wish they came with a little more bling like inlays and bound neck. A year or so ago I almost pulled the trigger on an epi nighthawk. I like the cloud inlays on the fret board. I have only played one nighthawk. It had been around the block one too many times for the price. Too many dings and rash. Anyways I am glad I held out because I found this one.

 

 

 

The push pull on the tone control enables down and disables up the chicken head varitone switch. The varitone Position 1 is off or bypass. While the next 5 positions are filters providing a wide range of tones. There are quite a few youtube videos on the BluesHawk. I have found most effect with both pickups on and use position 5 and 6 the most while 80% of the time I have the varitone off or disabled. I punch it in a lot when playing high end lead to push clarity through everything else like a Strat does....

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I would like to know what else you got buried in that closet you forgot about!

 

I also have one, I kinda forgot I have it because it's buried in my closet. I used to play it a lot, nowadays my 335 and variants get most play time.

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Thanks for the input. I saw somewhere a pic and description of the controls for the epi version. I will go back and snapshot the image so I will have it for a reference. I really am digging this one. So much that I may go and sell one of my others off.

 

I wish they came with a little more bling like inlays and bound neck. A year or so ago I almost pulled the trigger on an epi nighthawk. I like the cloud inlays on the fret board. I have only played one nighthawk. It had been around the block one too many times for the price. Too many dings and rash. Anyways I am glad I held out because I found this one.

Here is a nice demo video for the

, The Gibson BluesHawk controls function pretty much the same way..

 

The BluesHawk and the NightHawk share the same 25 1/2" scale neck and the body is the same shape. But the BluesHawk is a semi-hollow body while the NightHawk is a solid body more directly targeting the Les Paul..

 

N_050115C1.jpg

 

 

Edited by mihcmac

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BLUESHAWKS are GREAT GUITARS for those that appreciate what they are.I sold mine and was sorry I did. I then got a NIGHTHAWK that was my #1 for over 10 years....... and I just sold that one too !

 

IF I were to get another BLUESHAWK it would have to be one of the "Little LUCILLE's" that are no longer in production either, pricey as it may be.......they do have a certain charm to them !

 

From a SET-UP standpoint they are a bit of a PITA with the FENDER hard-tail bridge and the individual string height adjustment, and the 'F' Holes have been known to cause some undesirable feedback.....but it is the Beauty of the Beast...the NIGHTHAWK I had was the 3 Pick-Up STANDARD AND THE MINI-HUMBUCKER on the Neck was the only one of the three P-Up's I ever used...the 'M' series Humbucker on the bridge was a POS and so was the single coil in the Mid Position......but that Mini-Hummer was a great Pick-up, the original FIREBIRD Mini....BAD-A$$$ !!! The BLUESHAWK's came with P-90's if I remember and I did not like them as much, prone to feedback IMO......

 

They are not for everyone, the BLUESHAWK's..... but I still miss the one I sold.

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I know how it is when you let one go and start kind of missing it. I sold my 1981 les paul custom several years ago and I have been on a quest ever since to get a guitar I loved as much as that custom I had. I paid $475.00 for it back in 1991 and played it with all of my heart for over 22 years. When I had it I never ever looked or even shopped around for another guitar. Then it happened and I let it go and purchased a 1979 stratocaster. As much as I ever wanted a strat because all of my guitar hero players growing up played a strat, I found that the one I had sucked to be honest. But it was the guitar a honed my skills on with fret leveling and all. I sold it actually for a pretty good profit a few years later. I do not know how many I went through to get where I am now but it has been a bunch and so far I think the firebird I have is actually starting to get real soft on me and I am starting to actually fall in love with it.

 

I have never taken the firebird out of the house and since I made the purchase new, I am the only one who has ever played it. I baby it but I do not play it as much as I should because I want it to stay as pristine as possible.

 

I have a few other guitars I take to a studio sometimes too but I have been having the itch to go out and play gigs again. I know this blueshawk would be real light on the shoulders and back standing on stage with it. That is really I think why I purchased it.

There was a guy here locally who had some very nice guitars for sale. I called him up and went over to his house. He had like 25 guitars lined up on one wall and he had about 6 others off to the side that he wanted to sell. Out of the 6 was this blueshawk. It was the first one I had ever saw in person. It struck me as a neat little guitar and was light weight and I been wanting a P90 style guitar too. So I could not resist and picked it up.

 

It played good at his house but the action was a bit high for me. Once I took it home and lowered the strings and put on a new set then adjusted the truss rod, this little blueshawk really came alive. It has a good bite when cranked. I am digging it. If it works out I may gig with it too.

I like how the finish has that checking look going on. It seems as though alot of the night hawk and blues hawks do. I guess they kind of skimped on the finish process or maybe it was intentionally done by gibson to have a thin skin so the wood could breath a little.

 

 

 

 

 

 

BLUESHAWKS are GREAT GUITARS for those that appreciate what they are.I sold mine and was sorry I did. I then got a NIGHTHAWK that was my #1 for over 10 years....... and I just sold that one too !

 

IF I were to get another BLUESHAWK it would have to be one of the "Little LUCILLE's" that are no longer in production either, pricey as it may be.......they do have a certain charm to them !

 

From a SET-UP standpoint they are a bit of a PITA with the FENDER hard-tail bridge and the individual string height adjustment, and the 'F' Holes have been known to cause some undesirable feedback.....but it is the Beauty of the Beast...the NIGHTHAWK I had was the 3 Pick-Up STANDARD AND THE MINI-HUMBUCKER on the Neck was the only one of the three P-Up's I ever used...the 'M' series Humbucker on the bridge was a POS and so was the single coil in the Mid Position......but that Mini-Hummer was a great Pick-up, the original FIREBIRD Mini....BAD-A$$ !!! The BLUESHAWK's came with P-90's if I remember and I did not like them as much, prone to feedback IMO......

 

They are not for everyone, the BLUESHAWK's..... but I still miss the one I sold.

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I know how it is when you let one go and start kind of missing it. I sold my 1981 les paul custom several years ago and I have been on a quest ever since to get a guitar I loved as much as that custom I had. I paid $475.00 for it back in 1991 and played it with all of my heart for over 22 years. When I had it I never ever looked or even shopped around for another guitar. Then it happened and I let it go and purchased a 1979 stratocaster. As much as I ever wanted a strat because all of my guitar hero players growing up played a strat, I found that the one I had sucked to be honest. But it was the guitar a honed my skills on with fret leveling and all. I sold it actually for a pretty good profit a few years later. I do not know how many I went through to get where I am now but it has been a bunch and so far I think the firebird I have is actually starting to get real soft on me and I am starting to actually fall in love with it.

 

I have never taken the firebird out of the house and since I made the purchase new, I am the only one who has ever played it. I baby it but I do not play it as much as I should because I want it to stay as pristine as possible.

 

I have a few other guitars I take to a studio sometimes too but I have been having the itch to go out and play gigs again. I know this blueshawk would be real light on the shoulders and back standing on stage with it. That is really I think why I purchased it.

There was a guy here locally who had some very nice guitars for sale. I called him up and went over to his house. He had like 25 guitars lined up on one wall and he had about 6 others off to the side that he wanted to sell. Out of the 6 was this blueshawk. It was the first one I had ever saw in person. It struck me as a neat little guitar and was light weight and I been wanting a P90 style guitar too. So I could not resist and picked it up.

 

It played good at his house but the action was a bit high for me. Once I took it home and lowered the strings and put on a new set then adjusted the truss rod, this little blueshawk really came alive. It has a good bite when cranked. I am digging it. If it works out I may gig with it too.

I like how the finish has that checking look going on. It seems as though alot of the night hawk and blues hawks do. I guess they kind of skimped on the finish process or maybe it was intentionally done by gibson to have a thin skin so the wood could breath a little.

 

 

 

 

 

 

 

 

OMG, YOU had, and then sold, a1981 Les Paul CUSTOM ? and YOU sold it so YOU could get a STRAT ? MY CONDOLENCES BRO..... I bet YOU had to stay away from ledges on tall buildings for a while, eh?

 

Does the 'BLUESHAWK' have the Fender type bridge (as I remember?)? The one where you have to find that almost impossible to find 'ALLEN-HEAD' Key/Wrench to adjust the string height on both sides of the saddle ?

That was the only thing I did not like about the 'HAWK series Guitars, and maybe arguing with other 'HAWK owner's about the Neck Radius. As I am sure you know it is a 25.5" Scale with the GIBSON 12" Radius, not the 7.5" Fender type Radius that a few Guys tried to tell me. ("Dude,They wouldn't make a FENDER 25.5" inch scale with a GIBSON 12" Radius...", BUT, UH, YEAH....YEAH THEY DID !)

 

I know what you mean about wanting to keep a certain Guitar as pristine as possible. MAY I RECOMMEND? Get yourself a GIBSON USA 'FADED' or 'SPECIAL FADED' or some such POS, the 2014 thru 2016 Lester's and 'SG's can be had on reverb for a not too unreasonable $500 - $600, and they are good for beating the $#!T out of and once you get past the horror of what they sound like un-plugged they actually sound not too bad once they are plugged in.

 

 

 

 

 

 

 

 

 

 

 

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No I did not sell it specifically for the strat. I just happened upon the strat after I sold it. And yes, I still have nightmares of selling it man.......it has been one of the biggest mistakes I had ever made on guitars from the past.

 

Yes my blueshawk has the hard tail type bridge. I have never had a problem keeping up with the allen wrench to adjust those type of bridges. I bought an Ibanez prestige RG652 and it came with a multi tool. It is better than the one gibson throws in. Anyways, if you can find one of those, they are good to keep around for setting up your guitars. I also find those bridges fairly easy to adjust to playing preferences since each individual string can be adjusted.

Here is a link to the Ibanez tool I have here on ebay.

 

https://www.ebay.com...QYAAOSwVEFb2k2m

I find the 25.5" scale a little easier to work with sometimes. I have always liked a 12" radius. There are a lot of want to be gear heads out there who do not know what they are talking about.

You know The Eric Johnson Fender strat has a 12" radius fretboard too. I bet the same guys would argue that Fender would never make a strat with a 12" radius fretboard!!!

 

I do not know if it is me or what but I have played some specials and faded SG guitars and they all had the fat baseball neck on them. I think the pick ups sound pretty good though in them. I got a decent beater already actually but thanks for the advice.

The guy I purchased this blues hawk from had an SG faded. Someone had put a full sized bigsby on it. They did not use that bigsby mount that is popular now either and where the stop tail piece was, they put a cabinet handle there and the strings from the bigsby ran under the cabinet handle and over the bridge. It actually looked like a factory job.

 

I am the type that if I see a good deal I try to snag it up and sometimes I will resell them or trade them off or whatever but I do believe I am going to keep the blueshawk for sure and my firebird.

 

 

OMG, YOU had, and then sold, a1981 Les Paul CUSTOM ? and YOU sold it so YOU could get a STRAT ? MY CONDOLENCES BRO..... I bet YOU had to stay away from ledges on tall buildings for a while, eh?

 

Does the 'BLUESHAWK' have the Fender type bridge (as I remember?)? The one where you have to find that almost impossible to find 'ALLEN-HEAD' Key/Wrench to adjust the string height on both sides of the saddle ?

That was the only thing I did not like about the 'HAWK series Guitars, and maybe arguing with other 'HAWK owner's about the Neck Radius. As I am sure you know it is a 25.5" Scale with the GIBSON 12" Radius, not the 7.5" Fender type Radius that a few Guys tried to tell me. ("Dude,They wouldn't make a FENDER 25.5" inch scale with a GIBSON 12" Radius...", BUT, UH, YEAH....YEAH THEY DID !)

 

I know what you mean about wanting to keep a certain Guitar as pristine as possible. MAY I RECOMMEND? Get yourself a GIBSON USA 'FADED' or 'SPECIAL FADED' or some such POS, the 2014 thru 2016 Lester's and 'SG's can be had on reverb for a not too unreasonable $500 - $600, and they are good for beating the $#!T out of and once you get past the horror of what they sound like un-plugged they actually sound not too bad once they are plugged in.

 

 

 

 

 

 

 

 

 

 

 

Edited by bigtim

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One of the reasons why P-90's survived after the humbucker is that on F-Hole guitars that they were much less likely to feed back than humbuckers. The Beatles went with the P-90 powered Epiphone Casino partly because they didn't feed back on stage. like the uncontrollable 335 at the time. The BluesHawk is a tone machine borrowing tech from Lucille, the Blues 90 Pickups are under wound P-90's with fixed magnets as poles, more akin to JazzMaster's pickups.

Edited by mihcmac

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I really liked how the Beatles guitars sounded on their albums. I always wondered what they used on the songs "Get Back" and "Revolution." That tone was downright awesome IMO.

I am digging the heck out of the little BluesHawk. I cannot seem to put it down. It plays so good and is very light. I am getting used to the body smaller body size too. I like it so much I have not bothered much of the others since I have brought it home. I am going to have to just put the others away in the closet I guess. I really do not want to sell them and if I did it would be another one of those stupid decisions like I have made in the past.

 

It is really nothing like any of the other guitars I have had in the past. I really do not fiddle with the vari tone switch much as I like the sound with that switch disabled.

 

I have put a set of strap locks on it tonight and also the other day when I adjusted the truss rod I noticed the truss rod cover was cracked. I super glued it where it was broken but went ahead and ordered the new truss rod cover last week. It got here yesterday and I have installed it too.

 

It almost feels like a les paul while playing it with a strap standing up but it is way lighter.

 

 

By the way, is that an SG X you are playing in the picture of your avatar? If so, mind sharing your thoughts on it? I always kind of wondered about those guitars but they are kind of hard to come by.

 

 

 

One of the reasons why P-90's survived after the humbucker is that on F-Hole guitars that they were much less likely to feed back than humbuckers. The Beatles went with the P-90 powered Epiphone Casino partly because they didn't feed back on stage. like the uncontrollable 335 at the time. The BluesHawk is a tone machine borrowing tech from Lucille, the Blues 90 Pickups are under wound P-90's with fixed magnets as poles, more akin to JazzMaster's pickups.

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I really liked how the Beatles guitars sounded on their albums. I always wondered what they used on the songs "Get Back" and "Revolution." That tone was downright awesome IMO.

I am digging the heck out of the little BluesHawk. I cannot seem to put it down. It plays so good and is very light. I am getting used to the body smaller body size too. I like it so much I have not bothered much of the others since I have brought it home. I am going to have to just put the others away in the closet I guess. I really do not want to sell them and if I did it would be another one of those stupid decisions like I have made in the past.

 

It is really nothing like any of the other guitars I have had in the past. I really do not fiddle with the vari tone switch much as I like the sound with that switch disabled.

 

I have put a set of strap locks on it tonight and also the other day when I adjusted the truss rod I noticed the truss rod cover was cracked. I super glued it where it was broken but went ahead and ordered the new truss rod cover last week. It got here yesterday and I have installed it too.

 

It almost feels like a les paul while playing it with a strap standing up but it is way lighter.

 

 

By the way, is that an SG X you are playing in the picture of your avatar? If so, mind sharing your thoughts on it? I always kind of wondered about those guitars but they are kind of hard to come by.

Yes its an SG X that I bought new in the mid 90's. Sorry but all of the pic's I have of it are grainy. The SG X was unusual with 24 frets and a single really hot ceramic humbucker with coil tapping..

YhfxFpM.jpg

 

The SG X was before my P90 era when I got hung up on LP DC's below.

oV7Bfm9.jpg

 

My BluesHawk's are my current favorite..

oO91gBk.jpg

Edited by mihcmac

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I would like to know what else you got buried in that closet you forgot about!

 

I'd tell you but I forgot what else is in there too :-)

 

 

 

 

 

 

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I really liked how the Beatles guitars sounded on their albums. I always wondered what they used on the songs "Get Back" and "Revolution." That tone was downright awesome IMO.

I am digging the heck out of the little BluesHawk. I cannot seem to put it down. It plays so good and is very light. I am getting used to the body smaller body size too. I like it so much I have not bothered much of the others since I have brought it home. I am going to have to just put the others away in the closet I guess. I really do not want to sell them and if I did it would be another one of those stupid decisions like I have made in the past.

 

It is really nothing like any of the other guitars I have had in the past. I really do not fiddle with the vari tone switch much as I like the sound with that switch disabled.

 

I have put a set of strap locks on it tonight and also the other day when I adjusted the truss rod I noticed the truss rod cover was cracked. I super glued it where it was broken but went ahead and ordered the new truss rod cover last week. It got here yesterday and I have installed it too.

 

It almost feels like a les paul while playing it with a strap standing up but it is way lighter.

 

 

By the way, is that an SG X you are playing in the picture of your avatar? If so, mind sharing your thoughts on it? I always kind of wondered about those guitars but they are kind of hard to come by.

 

 

 

 

 

Yo Tim, this reply is a bit late, but thats OK.... THE BEATLES used FENDER AMPS on 'REVOLUTION', Silver Face TWIN Reverbs if my eyes were correct. Lennon had the stock Epiphone Casino thru the FENDER 2X12" and Harrison had the stock Les Paul STANDARD "Lucy" I think its name was/is thru what looks like the exact same FENDER 2X12" Amp....no effects pedals were visible in the video I got this info from, those AMPS could get pretty distorted when turned up. It is kinda interesting that they used FENDER AMPS on that recording as up until 1966 when they were still performing LIVE, they had used VOX AC30's on just about everything they recorded and when they played live....u can get good looks at their gear @ SHEA STADIUM and especially the CANDLESTICK PARK Concert from 1966,,, all VOX HEADS and CABINETS....and @ CANDLESTICK PARK there are no mics in front of the Amps.....take a look..... its comical they way the place was set-up. The stage at 2nd base and everyone in the audience is at least 200 feet away.

Edited by Wild Bill 212

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Hey WildBill212 that is some cool info

I never thought about looking at the old footage and checking out the gear.

 

Along those lines 30 years ago when cds came out I got one called the Cream of Clapton. Of course that was way before the internet and all. It had that hot version of Crossroads on it that was always played on the radio.

 

Anyways I thought he was playing a strat on that version. When YouTube hit the scene I looked the live performance up and was shocked he was using a 335. I guess he did not fiddle with strats until after Cream.

 

 

 

Yo Tim, this reply is a bit late, but thats OK.... THE BEATLES used FENDER AMPS on 'REVOLUTION', Silver Face TWIN Reverbs if my eyes were correct. Lennon had the stock Epiphone Casino thru the FENDER 2X12" and Harrison had the stock Les Paul STANDARD "Lucy" I think its name was/is thru what looks like the exact same FENDER 2X12" Amp....no effects pedals were visible in the video I got this info from, those AMPS could get pretty distorted when turned up. It is kinda interesting that they used FENDER AMPS on that recording as up until 1966 when they were still performing LIVE, they had used VOX AC30's on just about everything they recorded and when they played live....u can get good looks at their gear @ SHEA STADIUM and especially the CANDLESTICK PARK Concert from 1966,,, all VOX HEADS and CABINETS....and @ CANDLESTICK PARK there are no mics in front of the Amps.....take a look..... its comical they way the place was set-up. The stage at 2nd base and everyone in the audience is at least 200 feet away.

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Hey WildBill212 that is some cool info

I never thought about looking at the old footage and checking out the gear.

 

Along those lines 30 years ago when cds came out I got one called the Cream of Clapton. Of course that was way before the internet and all. It had that hot version of Crossroads on it that was always played on the radio.

 

Anyways I thought he was playing a strat on that version. When YouTube hit the scene I looked the live performance up and was shocked he was using a 335. I guess he did not fiddle with strats until after Cream.

 

In the early days of large live performance the concept of using the PA system for anything but voice hadn't evolved yet. The Vox Super Beatle amp (2- 4-12 cabs) was developed for large venues but had a circuit breaker that would shut off when it got too hot. There was a story of George Harrison getting fried trying to bypass the circuit breaker. So the main idea still was to just build bigger and bigger amps. When I saw Blue Cheer they used a wall of Fender Dual Showman's from one side of the stage to the other. They were one of the first to mic the drums into the Dual Showmans and the wall just kept getting bigger. But sooner or latter some one figured out to start mic'ing all of the instruments into more substantial sound systems.. Wall's of Hywatt's and Marshall's developed so much that power chords became the sound of the day and word of the day was POWER. There is nothing like pushing a Marshall stack to the point where the cabinets start to resonate and sing, but my ears can't take that any more..[scared]

Edited by mihcmac

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I remember a band I was in one night and we were at a gig. The other guitar players amp just was not putting out enough to be heard in the place. I told him to mic the amp through the PA system. He looked at me funny and said, you cannot do that can you? I said sure. He thought I was crazy but he tried it and everything worked out ok. I guess he thought PA systems were just for vocals too. It makes a big difference when you do that. Although nothing beats those old amps cranking up so out and the tubes are being driven like crazy to get that tone too you know.

 

 

In the early days of large live performance the concept of using the PA system for anything but voice hadn't evolved yet. The Vox Super Beatle amp (2- 4-12 cabs) was developed for large venues but had a circuit breaker that would shut off when it got too hot. There was a story of George Harrison getting fried trying to bypass the circuit breaker. So the main idea still was to just build bigger and bigger amps. When I saw Blue Cheer they used a wall of Fender Dual Showman's from one side of the stage to the other. They were one of the first to mic the drums into the Dual Showmans and the wall just kept getting bigger. But sooner or latter some one figured out to start mic'ing all of the instruments into more substantial sound systems.. Wall's of Hywatt's and Marshall's developed so much that power chords became the sound of the day and word of the day was POWER. There is nothing like pushing a Marshall stack to the point where the cabinets start to resonate and sing, but my ears can't take that any more..[scared]

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