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The Guitar Pron Thread


Celery Man

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46 minutes ago, Goredho said:

The Daily Texan "On what subject should you be considered Surly's resident expert?" thread got me thinking about our local guitar/music experts.  On what subject are the posters here experts at?  I'll toss out a few nominations.

@Deej for his Rainman-eque skill at pickguard screw accounting

@AnotherUTFan for his "WWLD" (What Would Lemmy Do) ethos

@noharleyyet for knowledge of "Joe Bonamassa's  Greatest Hits  Rent Free Pathos" 😉

@Chad Fuck for how to be the worst GAS Anonymous sponsor in the world

I realize I am opening myself up to a counter offensive here...

 

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1 hour ago, Goredho said:

The Daily Texan "On what subject should you be considered Surly's resident expert?" thread got me thinking about our local guitar/music experts.  On what subject are the posters here experts at?  I'll toss out a few nominations.

@Deej for his Rainman-eque skill at pickguard screw accounting

@AnotherUTFan for his "WWLD" (What Would Lemmy Do) ethos

@noharleyyet for knowledge of "Joe Bonamassa's Greatest Hits" 

@Chad Fuck for how to be the worst GAS Anonymous sponsor in the world

I realize I am opening myself up to a counter offensive here...

That third one is fucked up man.

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2 minutes ago, hullabelew said:
29 minutes ago, tbone_ said:
I have heard great things about the guild d55. Never have been able to lay one though.

Just didn't get it drunk enough.

Soundhole was too wide for him.  

"I may not touch bottom, but I'll play hell with them sides!"

Maybe he could've strapped a cross tie on his ass so he wouldn't fall in?

Have the veal, I'll be here all week.  

Edited by Chad Fuck
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3 hours ago, Chad Fuck said:

Soundhole was too wide for him.  

"I may not touch bottom, but I'll play hell with them sides!"

Maybe he could've strapped a cross tie on his ass so he wouldn't fall in?

Have the veal, I'll be here all week.  

Cut the funny business, Mr. Fuck.

Where’s our new guitar?

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55 minutes ago, Chad Fuck said:


Funny that you mention it. It came in while I was out of the country and I just got it home and got it all tuned up tonight just in time for the snowpocalypse.

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1971 ES-345. Pristine. Only downside is the case is r original and I have to get one of those funny split cables to go with it. One more check off the ole perfect collection list.

Drool and congrats.  My brother has a nice ES-345 that he loves and I covet.  I'll be curious what you think of the vari-tone knob.

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3 hours ago, Chad Fuck said:


Funny that you mention it. It came in while I was out of the country and I just got it home and got it all tuned up tonight just in time for the snowpocalypse.

b60ed6ff16f1dc01a3e2f330464eb60b.jpg
Ñ5f963327a4f68891d8875d75a5d3b520.jpg
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1971 ES-345. Pristine. Only downside is the case is r original and I have to get one of those funny split cables to go with it. One more check off the ole perfect collection list.

Thank you, sir. I’ve been checking this thread daily in anticipation of the reveal, and it was worth every minute of the wait. It’s beautimous. I hope it plays and sounds as incredible as it looks.

I’ll add that I’m not usually into gold hardware, but it is just perfect against the walnut finish and black guard of this guitar. Classic and classy. You done good. 

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I’ve always wanted an ES-335/45/55 series. So many greats got beautiful tones out of them. I’ve been scouring reverb and gbase for a few years now looking for the right walnut one, ever since my neighbor lent me his for safe keeping (posted upthread a while back) while on vacay and I read about Mick Taylor using one on “Can’t you hear me knocking.”

Second year in a row I’ve been able to get a really good deal right around Christmas. I’m sure that’s not a coincidence. There was a Rickenbacker here in town that was at a really low price as well, but I just couldn’t let myself do two at once. We shall see how long that one stays listed.

Oh wow. Congratulations. I love the Walnut finish of that era and you know how much I love a Bisbgy, especially on a Gibson. Super cool.

The Bigsby wasn’t a requirement for me, but I’m glad it has it as it’s the only Bigsby guitar I have now.
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also I don't follow the news anymore because the news is pain and my life is pain and ain't nobody got time for that but I guess LA is on fire. I've seen some nervousness from Matchless folks on the internet and I know we poke at Joey B but his horde is apparently at risk and I don't wish that on him and certainly not his collection. 

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so what the fuck does that knob actually do and imo you need to buy another amp now? because stereo?

I don’t really know. Yet.

Maybe. I mean I have enough amps to do stereo now. But maybe I haven’t found the proper combo that truly makes this particular guitar’s stereo capabilities sparkle?
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4 minutes ago, Chad Fuck said:


I don’t really know. Yet.

Maybe. I mean I have enough amps to do stereo now. But maybe I haven’t found the proper combo that truly makes this particular guitar’s stereo capabilities sparkle?

Maybe you can help evacuate the shop

IMG_1815.thumb.jpeg.893f372330f6b5a1050c90d0a8f5268c.jpeg

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10 minutes ago, Chad Fuck said:


I don’t really know. Yet.

Maybe. I mean I have enough amps to do stereo now. But maybe I haven’t found the proper combo that truly makes this particular guitar’s stereo capabilities sparkle?

My favorite stereo amp combination for a hollow body with humbuckers was my last gigging rig: a Vox AC-30 top boost and a Marshall Bluesbreaker. It’s a little much for small rooms, but glorious when cranked. 

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10 minutes ago, Foggy Notion said:

My favorite stereo amp combination for a hollow body with humbuckers was my last gigging rig: a Vox AC-30 top boost and a Marshall Bluesbreaker. It’s a little much for small rooms, but glorious when cranked. 

That sounds awesome and could peel paint.  I love those amps' sounds, but the weight...not so much.  Plus with PA systems being what they are now - and I know this is sacrilege - there really isn't a use for them in the smaller/midsized venues I play.  What hollow body were you playing through it? 

Right now I have a Twin for really big gigs, but frankly those hardly ever  come along.  I really like my Princeton and Vibrolux together.  Princeton mic'd is enough for most venues.  The Princeton/Vibrolux lets me run an effects/distorted channel and a clean channel, which works for me.  Plus it's really easy to load in/out.  Two trips to car and back:  1. two amps, one in each hand; 2. guitar(s)/pedal board/cords in backpack.   Sounds glorious with my 54ri LP w P-90s.  I'll have to try it with my 345 for the hum bucker sound. 

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15 minutes ago, Chad Fuck said:

That sounds awesome and could peel paint.  I love those amps' sounds, but the weight...not so much.  Plus with PA systems being what they are now - and I know this is sacrilege - there really isn't a use for them in the smaller/midsized venues I play.  What hollow body were you playing through it? 

Right now I have a Twin for really big gigs, but frankly those hardly ever  come along.  I really like my Princeton and Vibrolux together.  Princeton mic'd is enough for most venues.  The Princeton/Vibrolux lets me run an effects/distorted channel and a clean channel, which works for me.  Plus it's really easy to load in/out.  Two trips to car and back:  1. two amps, one in each hand; 2. guitar(s)/pedal board/cords in backpack.   Sounds glorious with my 54ri LP w P-90s.  I'll have to try it with my 345 for the hum bucker sound. 

I was playing a mid-90s Epiphone Riviera. The Korean Rivieras from that era came with full size humbuckers instead of the mini humbuckers found on most Rivieras. Basically a 335 with a frequensator tailpiece. It doesn’t have a stereo output, but I used an A/B pedal to send the signal to both amps which made it easy to play through either amp or both for a total of three different sounds.

And I hear ya on the weight. Both amps were/are in road cases with casters which added to the weight, but made it easier to get them in and out of venues. But yeah, getting them in and out of the van was a two-man job. 

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31 minutes ago, jimmyjazz said:

Foggy, were you running stereo effects or were you just after the different tonal combinations?  Or both?

I ran that rig in a couple different wiring configurations at different times, but it was both. I had some pedals that went only to the Vox and others that went only into the Marshall. On some songs I’d play through just one amp on the verse or quieter parts, and then hit the A/B box to turn on the second amp with a distortion or overdrive pedal on a crunchy chorus or other louder parts.

But one of my favorite sounds was when I would use a Dunlop TS-1 tremolo pedal that would pan the tremolo in stereo out to the amps. It was like sound in 3-D. You could actually feel the tremolo pulse hitting you from different sides. 

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2 hours ago, Celery Man said:

so what the fuck does that knob actually do and imo you need to buy another amp now? because stereo?

 

1 hour ago, Chad Fuck said:


I don’t really know. Yet.

Maybe. I mean I have enough amps to do stereo now. But maybe I haven’t found the proper combo that truly makes this particular guitar’s stereo capabilities sparkle?

Introduced by Gibson in 1959, the Varitone 6-way tone control is a circuit that acts as a notch filter, reducing frequencies at set points along the frequency spectrum. Filtering is achieved by passing the signal through capacitors that effectively remove or reduce specific frequencies. As the Varitone knob is rotated from positions 1 to 6, the center frequency of the filter shifts from high frequencies to lower frequencies, producing unique tones at each setting. Probably the most notable use of a Varitone circuit in an electric guitar is B.B. King’s Lucille.

An example of the various settings and the tonal effect of a Varitone circuit:

  • Position 1: Bypass (no effect)
  • Position 2: -8.5dB at 1875Hz (or 1.875kHz )
  • Position 3: -12dB at 1090 Hz (1.090 kHz)
  • Position 4: -15dB at 650 Hz
  • Position 5: -16dB at 350 Hz
  • Position 6: -20dB at 130 Hz

The specific frequencies impacted by the Varitone will be dependent on the values of capacitors used.

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Just now, Goredho said:

 

 

Introduced by Gibson in 1959, the Varitone 6-way tone control is a circuit that acts as a notch filter, reducing frequencies at set points along the frequency spectrum. Filtering is achieved by passing the signal through capacitors that effectively remove or reduce specific frequencies. As the Varitone knob is rotated from positions 1 to 6, the center frequency of the filter shifts from high frequencies to lower frequencies, producing unique tones at each setting. Probably the most notable use of a Varitone circuit in an electric guitar is B.B. King’s Lucille.

An example of the various settings and the tonal effect of a Varitone circuit:

  • Position 1: Bypass (no effect)
  • Position 2: -8.5dB at 1875Hz (or 1.875kHz )
  • Position 3: -12dB at 1090 Hz (1.090 kHz)
  • Position 4: -15dB at 650 Hz
  • Position 5: -16dB at 350 Hz
  • Position 6: -20dB at 130 Hz

The specific frequencies impacted by the Varitone will be dependent on the values of capacitors used.

My guess is Position 1 will be seeing lots of action.  

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Just now, Chad Fuck said:

My guess is Position 1 will be seeing lots of action.  

Yeah, some of the others are nice for cleaning up mud, but you can achieve that in other ways in a mix.  And I guess position 2 and 3 can give you a scooped mids sound.  I can't remember what they were when I played my brother's but there were a couple of settings beyond position 1 that sounded situationally decent.

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2 hours ago, Celery Man said:

Whatever you think of JoeB as a musician or songwriter, he is a responsible steward for a shit ton of historically significant guitar Americana.  Hope he keeps it all safe.  I guess have to also wonder about Norman's Rare Guitars and all his warehouse stashes, too.

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21 minutes ago, Goredho said:

Whatever you think of JoeB as a musician or songwriter, he is a responsible steward for a shit ton of historically significant guitar Americana.  Hope he keeps it all safe.  I guess have to also wonder about Norman's Rare Guitars and all his warehouse stashes, too.

 

Yeah honestly one of my first thoughts is this is exactly why I don't like his hoarding. This shit shouldn't all be in one place.

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56 minutes ago, Goredho said:

Yeah, some of the others are nice for cleaning up mud, but you can achieve that in other ways in a mix.  And I guess position 2 and 3 can give you a scooped mids sound.  I can't remember what they were when I played my brother's but there were a couple of settings beyond position 1 that sounded situationally decent.

As I was doing my research (not on the Varitone, obs), many 345s have had that Varitone just cut out of the loop and essentially have 335/standard 2 tone, 2 volume, 1 pick up selector wiring.

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18 hours ago, Chad Fuck said:


Funny that you mention it. It came in while I was out of the country and I just got it home and got it all tuned up tonight just in time for the snowpocalypse.

b60ed6ff16f1dc01a3e2f330464eb60b.jpg
Ñ5f963327a4f68891d8875d75a5d3b520.jpg
ccb40be943843ca97b400956bb6ec32a.jpg
1971 ES-345. Pristine. Only downside is the case is r original and I have to get one of those funny split cables to go with it. One more check off the ole perfect collection list.

Sweet!  I've got a 1970 Walnut twin of the 335 variety!  Excellent guitar!

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41 minutes ago, Chad Fuck said:

Have we seen it?  You should post it again.

Yes, but I'm happy to show it off again.  I got it at Guitar Resurrection in the summer of 1996.  I was 23.  I was told that it had been under a bed for a couple of decades (possible soldier not returning from war, but who knows).  Anyway, it was flawless.  I later put a nick in the headstock finish by lifting it overhead to get it off my shoulder while not being mindful of the ceiling fan.  So now it has a little more character.  It's the most even-playing guitar I've ever owned. 

 

Serial # puts it in 1970.  But it's got some throwback to 1969 such as no dot over the "I" in the Gibson logo and something else I can't recall at the moment.  Anyway, other than being hard on my right arm where it rests while playing, it's an absolutely fantastic instrument.  And I get used to the narrow fretboard within a few minutes of staring to play it.

 

AP1-Gcz-Pc-PF-Yy-X2-Xz-V7b-Ue-NAW80-OR0-

 

 

 

upload-1.jpg

 

Far too much ham-fisted noodling on this video, but here's the guitar, clean, into a 1973 Deluxe Reverb (David Allen Blackfaced Circuit) with a 1968 Jensen C12N.  Just tone for days.

 

 

Edited by dcbc
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10 minutes ago, dcbc said:

Yes, but I'm happy to show it off again.  I got it at Guitar Resurrection in the summer of 1996.  I was 23.  I was told that it had been under a bed for a couple of decades (possible soldier not returning from war, but who knows).  Anyway, it was flawless.  I later put a nick in the headstock finish by lifting it overhead to get it off my shoulder while not being mindful of the ceiling fan.  So now it has a little more character.  It's the most even-playing guitar I've ever owned. 

 

Serial # puts it in 1970.  But it's got some throwback to 1969 such as no dot over the "I" in the Gibson logo and something else I can't recall at the moment.  Anyway, other than being hard on my right arm where it rests while playing, it's an absolutely fantastic instrument.  And I get used to the narrow fretboard within a few minutes of staring to play it.

 

AP1-Gcz-Pc-PF-Yy-X2-Xz-V7b-Ue-NAW80-OR0-

 

upload-1.jpg

 

 

This is very, very nice.  

 

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7 hours ago, Celery Man said:

 

5 hours ago, Goredho said:

Whatever you think of JoeB as a musician or songwriter, he is a responsible steward for a shit ton of historically significant guitar Americana.  Hope he keeps it all safe.  I guess have to also wonder about Norman's Rare Guitars and all his warehouse stashes, too.

I have been chatting with a good friend from my time in LA (have known her about 25 years). She’s lives up the PCH&101 in Ventura, but she knows 5 different families who have lost their homes, including an uncle who had been in his house 56 years. 

The Palisades alone is filled with so much money and people who have made their money in music, film, TV and I am sure hundreds of collectors. 

I was thinking about the losses of things that we have to say “Oh, that’s just ‘stuff’, at least they’re safe.” about must be in the hundreds of millions to billions (again, just in the Palisades alone).
-Art
-Historically significant musical instruments 
-Wine collections
-Exotic cars
-Jewelry 
-Fashion/Famous clothes
-Furniture
-Film props

Some would fall under “antiques”.

So much stuff that would normally have jaw dropping value has now gone up in flames.

Hope that Joe B and others have contingency plans.

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2 minutes ago, Napoleon said:

 

I have been chatting with a good friend from my time in LA (have known her about 25 years). She’s lives up the PCH&101 in Ventura, but she knows 5 different families who have lost their homes, including an uncle who had been in his house 56 years. 

The Palisades alone is filled with so much money and people who have made their money in music, film, TV and I am sure hundreds of collectors. 

I was thinking about the losses of things that we have to say “Oh, that’s just ‘stuff’, at least they’re safe.” about must be in the hundreds of millions to billions (again, just in the Palisades alone).
-Art
-Historically significant musical instruments 
-Wine collections
-Exotic cars
-Jewelry 
-Fashion/Famous clothes
-Furniture
-Film props

Some would fall under “antiques”.

So much stuff that would normally have jaw dropping value has now gone up in flames.

Hope that Joe B and others have contingency plans.

I'm on several vintage Mustang forums and saw a photo of the tail end of a clearly well cared for 67/68 going up in flames.  Metal can be replaced, but a loss none the less.

 

Edited by Chad Fuck
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7 minutes ago, Chad Fuck said:

This is very, very nice.  

 

Thanks.  I added a video so you can have a listen.

4 minutes ago, Chad Fuck said:

People have had worse ideas. And Gibson put out some nice 335/345 reissues in the early 2000s as well.  So they don't have to be vintage.

As much crap as you hear about Norlin era Gibsons, I'm inclined to think that there were plenty of good 335/345s in the early 70s and plenty more throughout the decade.  And from all I've read, the ES guitars Gibson has built over the last 20 years have been fantastic.

Edited by dcbc
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19 minutes ago, Foggy Notion said:

I’m feeling this.

We should all buy walnut hollowbody Gibsons. 

I'll buy a walnut hollow body Gibson when MrFuck buys a generic Strat :D 

24 minutes ago, dcbc said:

Yes, but I'm happy to show it off again.  I got it at Guitar Resurrection in the summer of 1996.  I was 23.  I was told that it had been under a bed for a couple of decades (possible soldier not returning from war, but who knows).  Anyway, it was flawless.  I later put a nick in the headstock finish by lifting it overhead to get it off my shoulder while not being mindful of the ceiling fan.  So now it has a little more character.  It's the most even-playing guitar I've ever owned. 

 

Serial # puts it in 1970.  But it's got some throwback to 1969 such as no dot over the "I" in the Gibson logo and something else I can't recall at the moment.  Anyway, other than being hard on my right arm where it rests while playing, it's an absolutely fantastic instrument.  And I get used to the narrow fretboard within a few minutes of staring to play it.

 

AP1-Gcz-Pc-PF-Yy-X2-Xz-V7b-Ue-NAW80-OR0-

 

 

 

upload-1.jpg

 

Far too much ham-fisted noodling on this video, but here's the guitar, clean, into a 1973 Deluxe Reverb (David Allen Blackfaced Circuit) with a 1968 Jensen C12N.  Just tone for days.

 

 

Sounds great!

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58 minutes ago, Foggy Notion said:

I’m feeling this.

We should all buy walnut hollowbody Gibsons. 

Ill sell my blonde and buy a Walnut. 

There was an early 70's Walnut one I was gonna a buy when I 1st moved to SF that was sold when I went back to buy it. It got away! I can't remember the year, it was the last year w the trapeze tail piece. That was a nice playing instrument.

 

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47 minutes ago, dcbc said:

Thanks.  I added a video so you can have a listen.

As much crap as you hear about Norlin era Gibsons, I'm inclined to think that there were plenty of good 335/345s in the early 70s and plenty more throughout the decade.  And from all I've read, the ES guitars Gibson has built over the last 20 years have been fantastic.

Video sounds great, and I now recall the story of the guitar into the ceiling fan.  

Totally agree on the Norlin era guitars.  It's not like they instantly went to shit.  Gibson has pretty much always made great guitars, but there was just an era where they were especially good.  I personally think we're in another such era as the tech for manufacturing has improved so much, along with the data on what guitarists are really looking for.  

42 minutes ago, Goredho said:

I'll buy a walnut hollow body Gibson when MrFuck buys a generic Strat :D 

Sounds great!

Why would you make yourself wait so long?  

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