Your next guitar?

[trimph1]

Those are good points!

Though I don't think the pickguard looks bad, I kinda like it.

I'll probably pass vs gas but when I saw it I thought it was kinda cool. If y'all haven't noticed I love talking about this shit

@ "need": What is this "need" thing and why would I allow it to influence me

I love ibby's (of course, it has to be a prestige (snooty snout) )

More cat pics with snob like looks and japam related ibby guitars coming soon

@ "need" what is this "need" thing?

ROFPMSL and then some dude

I do kind of like the looks of the thing but if the functionality of it is not particularly useful ---megh---

That's why I hate ordering the dang thing then finding out it is not useful---or loose parts--or flippyfloppy pickups/switches/loose necks---

I've got 3 good music stores + several good pawn shops from which to buy from here, that is, WHEN the weather outside is not frightful----

[Dean Aka Nekro]

frigtful weather here also, still have to get the kids into school and back so i have no choice but i like the snow anyway, i do not like it when it is windy and said snow turns into black ice! They have not gritted in my village yet either bloody cheap bastards

[rectus_dominus]

Now it just rains here.... I'd like to ask if the shielded cable will prevent (reduce?) my signal getting wunderbar radio sounds?
I'm planning to shield my guitar(s), but I think that it won't solve everything...

[Hink]

re: Seyour Duncan Mick Thomson Blackout

I have had it in my jackson Kelly now for while now



I have an old EMG PA2 pre-amp that the switch broke on, I put it inline with the duncan in the neck and turned it down to the lowest boost which is roughly the same as an EMG pick up.

I really like the Blackout, compared to my EMG 81s it's a bit more aggressive than the 81 and I think the sustain is slightly better. It's hard to tell being that the Jackson only had passive duncans in it before so I dont know how it sounds with an 81. I do know that I called the Jackson my "little red sports car' for a while because I started seeing it as a midlife thing with the mural and all. I've always liked and wanted a Jackson Kelly but this was more of a decoration than a guitar, basically the tone of it was boring and I never played it.

Now it's a different story, I'll be getting the matching neck pick up down the line. My neck pick up now is okay but I want the matching pick ups. It feels great now (yeah I know, it's pick ups and that has nothing to do with feel) and I really like playing it. I always talk about using dirty strings and like I said in another thread when I did this pick-up swap I did not change my strings and instead detached the springs and removed the bridge for access to the pick ups. In this case it was a good idea because there is no 'honeymoon' phase with new strings, in other words the improvement in tone is not because I'm hearing new strings (these will be 4 in Feb).

In the future while buying active pick ups it will be a tough choice between these or EMGs. The little problem of the connector is no big deal, the inner contact for the 9v power wire wasn't seated properly and instead of sliding onto the pin when the connector was attached it pushed it out. Very easily fixed, I just cut off that piece of the plastic connector and slid the contact over the pin (and dropped a dot of solder on it for good measure)

[Uncle E]

Not needed and ugly coloured scratch plate.

The nice thing about the pickguard is you can easily swap in different pickup combos just by having extra pickguards laying around.

The HSH configuration, the S just gets in the way and even more so on crapped HSH layout

The humbuckers are wired to auto-split when used together with the single coil so the single coil actually provides three decent strat tones.

The S will have huge volume differences between the buckers

hmm, I haven't really noticed it to be a problem. The humbuckers are stronger sounding, for sure, but it just means the three middle positions sound cleaner, not lower volume.

If you can find one with either a HSS or HH config then cool/go for it pending that it has either no scatch plate or the plate is the same colour as the body (maybe even like chrome or something a little bit different)

Yeah, I actually agree on the HSS, that or SSS are still my favorite pickup combos. HH is pretty cool on PRS's and I want to install the Megaswitch P in my HH Ibanez's in order to get those tones:

http://www.stewmac.com/shop/Electronics ... Model.html

Ibanez's stock 5-way for HH's isn't very good, IMO.

[hibidy]

Well I have the H/S/H on my Indonesian ibby and it's pretty cool. The pups are not really that great though and I'm assuming the 5 way switch sucks (like uncle e says)

Cripes, I'm probably selling that one too as there is just too much difference between it and the japan/prestige models.

[Uncle E]

Well I have the H/S/H on my Indonesian ibby and it's pretty cool. The pups are not really that great though and I'm assuming the 5 way switch sucks (like uncle e says)

It's fine on the HSH models. Ibanez has this weird switching on some of there HH guitars that I don't think sounds very good.

Cripes, I'm probably selling that one too as there is just too much difference between it and the japan/prestige models.

Yes, agreed there. Even my early 90's Japanese RG540 isn't nearly on the same level as my Prestige.

[Hink]

- 24 frets (good bending space)
- lightweight
- decent sustain
- will last a long long time. Not necessarily live use/abuse, just in the studio. Some truss rod adjustments from time to time, some fret maintenance and that's all.
- inclined towards passive pick-ups. Would love to try some actives, though.
- versatile (aka anything BUT metal. Jazz, hard rock and mellow stuff as well. Not a big fan of harsh or very bright tones.)
- comfortable neck. Not necessarily lightning-fast.

I like floyds but I'm bad at maintaining them. Plus I experiment with different tunings. Often.

That ESP Viper looks really nice!

It's fairly heavy, unfortunately, like a Les Paul. The body is thick like a Les Paul so it's good for someone who wants the Les Paul sound but with the SG look. If you want lighter, get an SG or a Les Paul Special, both of which fit all your requirements.

as much as I rag on Gibson the truth is I would never own a Les Paul because of two reasons and the weight is one. I still will never forget the day when I was like 22 and my best friend decided to play guitar so he bought a brand new Gibson Les Paul Goldtop 30th anniversary edition (and a polytone amp). The first time he sat down with it he didn't hold the neck, bent over to plug the cable in and the neck kicked up and gave him a fat lip.

Writing, I want a guitar that will sit and stay in my lap and I do not want to fight it. If I had a Les Paul I would be too damn lazy to pick it up to play it. (my baritone is that way but it 'sits' nicely, but I groan every time I pick it up)

The other thing is the stop bar tail piece, I simply hate it. There really is nothing wrong with it besides the sustain lost (but bolt on necks, floyd rose systems do not help sustain either...only my daion with the neck through really benefits sustain wise from strings through the body)

I've given this a lot of thought recently as to why and it's as simple as my right hand just not being comfortable and almost being lost. No doubt if I played a stop bar more often that would go away but I honestly believe it comes down to palm muting and the 'feel' for where I'm going to pick at (I change that a lot because of pinch harmonics, it's second nature with a rose or a hardtail style bridge that anchors through the body)

The stop bar just isn't for me and it's more than just Gibson though an SG bugs the hell out of me because the strings look in my eyes to be too high which of course they're not

I don't disagree with you, Hink, but some Les Pauls are incredibly well balanced. Others will definitely give that fat lip.

I don't necessarily see the tailpiece as a sustain loss, since my SG sustains just about forever. But then, it's a set-neck. Most people hate playing my guitars because I set them up for heavy strings and a really high action. Besides, I'm a woodwind player, not a guitarist

I missed this and didn't want you to think I was ignoring you james, please keep in mind my post was as subjective as it gets and why I mentioned that bolt ons and tremolo bridges kill sustain as well is because it is so subjective. The feel of the bridge is really the biggest thing, I do not feel support from the stop bar. It really comes down to palm muting which is not an all or nothing thing for me, my right hand is all over the place bewteen pinch harmonics, timbre and palm muting. I know some people would say the stop bar allows for pressure that would raise the pitch but it's not that, it's really about the simplest of simple...confidence. It's a very minor adaption to say the least and a stop bar probably wouldn't be a deal breaker but it would be something a guitar would have to overcome by another feature. About the only feature I can think of is really the neck that is not something I can customize to my taste (that's without buying another neck).

Comfort equals confidence, if I could impart any wisdom on any young guitar player it would be confidence is key. You cannot hope to get that squeal, you can't hope to run through a passage without wonking a note, you can't hope you dont break a string...you have to know you wont or sure as shit you will mess up. As you know pinch harmonics change depending on where you pinch, I cannot look down and say 'that's the spot', in fact if I think about it it's already too late.

So not to sound lame, it's not the guitar...it's me and I'm finicky about little things

[Ian B]

I'd love to get one of these guitars again, out of all the guitars I've owned in the past 35+ years, this is the one I regret selling. I've finally managed to track down a pic of a Lincoln (I seem to recall it being called a Lincoln SG)



Not the best pic, but it still looks stunning imo, it's only faults were the pups (I still don't like D'Marzios) but other than that it was pretty much faultless and had the most amazing action I've ever seen on a guitar. Unless my memory is playing tricks, this was helped by it having a totally flat fretboard on a thro' neck, it played fantastically well and sported a walnut body that marked very, very easily, so it wasn't for everyone.

I was told by the shop it was hand made and believed them, but seemingly they were made in Japan in the late 70's/early 80's, and the former matches the date I bought mine.

[susiwong]

I'd love to get one of these guitars again, out of all the guitars I've owned in the past 35+ years, this is the one I regret selling. I've finally managed to track down a pic of a Lincoln (I seem to recall it being called a Lincoln SG)



Not the best pic, but it still looks stunning imo, it's only faults were the pups (I still don't like D'Marzios) but other than that it was pretty much faultless and had the most amazing action I've ever seen on a guitar. Unless my memory is playing tricks, this was helped by it having a totally flat fretboard on a thro' neck, it played fantastically well and sported a walnut body that marked very, very easily, so it wasn't for everyone.

I was told by the shop it was hand made and believed them, but seemingly they were made in Japan in the late 70's/early 80's, and the former matches the date I bought mine.

Pretty much a standard formula around 1980 in Japan, everybody built these neck-thru models back then. Ibanez, Aria, Yamaha, CG Winner, Suzuki, endless list. Hink's Daion is an upmarket version of the same idea, too.
So don't get too hung up with the brand, probably the identical guitar was sold under five different brand names with slightly different details, electronics, headstock, coming from the same factory.
A few months ago we had a very geeky discussion about these guitars, let me see if I can find it again.
With a bit of luck you can find a nice example for small money, a good basis for customization.
Cheers,
susiwong

PS: hand made - not really.

[susiwong]

That thread :
http://www.kvraudio.com/forum/viewtopic ... c&start=30
starting halfway down the page with Hink

[Hink]

That thread :
http://www.kvraudio.com/forum/viewtopic ... c&start=30
starting halfway down the page with Hink

I pm'd ian with the same pics but it's not exactly the same...for instance his has the stop bar but when I first saw it I did a double take (pun intended)

[Hink]

btw my daion right now would likely fetch close to 1200 dollars, sometimes they show up on ebay. I couple of years ago I almost got the identical bass but the bidding went far higher than I wanted to pay.

[Hink]

speak of the devil

http://cgi.ebay.com/1982-Daion-Power-Ma ... 588b6dbc75

[Hink]

btw I do have the original knobs