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>>> regarding the nylon nut. Much appreciated!
Yeah, don't be alarmed by the apparent softness of the nylon material. The is a resilience under load that makes it great for this application.
Hope the guitar works out as well as expected for you.
Chris
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08-02-2014 09:24 AM
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Hey Chris . . . remember back to the '80s when repair shops made a fortune facilitating the fanatics who absolutely had to have a brass nut because it enhanced sustain so much? I always laughed aloud at those who loaded their Lesters with DiMarzio super distortion pups, then swore up and down they could hear a difference in tone and sustain after they switched to a brass nut. Meanwhile . . those more in the know when to a nylon nut and nylon bridge saddles on ther ABR1.
Originally Posted by PTChristopher2
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Congratulations, wise move!
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Monday seems to be taking forever to come around...
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The only brass nuts that ever made any difference were the pair Alec Baldwin carried in Glengarry Glen Ross.
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But with a block-inlay guitar, your fingers are on the inlay almost as much as the ebony, no? Originally Posted by bananafist
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>>> remember back to the '80s when repair shops made a fortune facilitating the fanatics who absolutely had to have a brass nut because it enhanced sustain so much?
The 80's were my 20's and yeah, I was there for the brass nut craze. My fingers still hurt from making so many of those.
The sustain from the brass nut lore was a pretty durable nutty fit.
There was a company that sold blanks via a small magazine ad. They were called "Nuts to You". Really.
The Gibson size brass nut blanks were OK. But the Fender blanks were sometimes stamped from thick sheet brass, with rounded edges on the high side of the die that was used. They were more work than making then from basic brass stock.
>>> nylon bridge saddles on ther ABR1
I really like the nylon saddle sound myself.
Chris
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>>> But with a block-inlay guitar, your fingers are on the inlay almost as much as the ebony, no?
Ooops. I think there may be little reward in anti-lore. Best of luck.
And in senseless contrast, I'd prefer the mostly unfelt, unstable ebony or rosewood over Richlite (sp?) myself.
Chris
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Kramer alumin[i]um necks used tho have black phenolic FBs. So 1979 Richlite except without the cellulose component. It was actually slippery when wet.
Wood is overwhelmingly cellulose and resin - so natural, inconsistent Richlite in most ways.
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Good auld bell brass days...I recall ads in GP for bell brass plates shaped to be attached to the back of the headstock for "increased sustain". Way back when, heavy Les Paul Customs ruled the day. 14.5 pounds? Here, take my money.
I recall the salesman putting the glass case key to the $800 '79 Les Paul Custom Black back in his pocket and telling me "to come back when you have the money". Right beside it was a $700 '79 Made in Japan Fender Stratocaster Sparkling Gold with goldplated everything.
Oops. Sorry, Rob, for derailing. Monday will soon be upon you. Hope that it is everything you wish it to be.
As an aside, I see that you have a Simon Ambridge Parnomo. Have been eyeing Simon's Torres copy in birdseye maple and his Concert 40 in Ceylonese Satinwood. His Herman Haüser looks delectable.Last edited by Jabberwocky; 08-02-2014 at 02:43 PM.
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Sold that many years ago when life was tough, sadly. But it wasn't exactly what I needed for the music of Sor. Simon didn't exactly make a historically-correct copy of a Panormo, which is what I was looking for. The quality, though, was first class.
Don't worry, I've enjoyed the diversion into brass nuts and the like. I'm surprised, but happy, that nylon is so highly thought of.
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The Ambridge Panormo sounded lovely in your hands. As a point of interest, Scot Tremblay who posts here sometimes specialises in crafting historical guitars. Professional Instruments | Roseberry Guitars .
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Yes, Scot is a friend. He sent me an 8-string copy of a Stauffer 8-string guitar, an incredible loan by him. Here's the first video I made the day it arrived:
Last edited by Rob MacKillop; 08-03-2014 at 02:26 PM.
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I've tried to encourage Scot to make an archtop...
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You are a truly immense talent Rob! I can't wait to see what you do with your new ES-345!
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Ha! That made my day.
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Interesting RH technique on the Tremblay Stauffer. You play it like a lute. Is that for historical ' accuracy'?
I apologise if I am taking this thread down a different trail.
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There were so many brilliant 19th-century virtuoso guitarists, and most of those who discussed their technique tell us that there is no one single technique for the period. Mine is a composite technique, developed after reading many of the treatises. No nails, free strokes with the fingers, and often rest strokes by the thumb. I don't know what you mean by "play it like a lute" as there were a number of lute techniques too. The more you dig into these things, the more the over-simplifications don't work. They were all as crazy as jazz guitarists!
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Hi Rob,
Good luck with your new Gibson. I had a LP Supreme with richlite fingerboard
described as kitchen worktop surface by some, horrible. got rid of it.
But a 345 or 335 ! you'll be wailing like Larry carlton or Steve Khan soon.
I had to sell my original 1959 ,335 some years ago when times got a bit difficult
what an instrument, if i could have kept it it would be worth a King's ransom now.
Happy Birthday BTW
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Thanks, silverfoxx. Such a bummer, selling your great guitar like that. I've been there one too many times myself.
I wouldn't mind wailing like Larry or Steve, though with a bit of me mixed in there. Those guys are great musicians.
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After 3 days of music work, my brain is swollen. Kindly translate? Originally Posted by PTChristopher2
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And there was Gibson's "Sustain Sisters" Originally Posted by Jabberwocky
1979 Gibson es347 bridge sustain sisters
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>>> After 3 days of music work, my brain is swollen. Kindly translate?
It just means that I agree with you, but with some ironical wrinkles.
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Monday evening now (at least in Europe)
What's up, Rob ?
Have you got the guitar ?
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Ha. Yes, I do! It's excellent. We've been having a "getting to know you" day. The annoying thing is that it has shown how poor my little practice amps are, so I'm starting saving for something worthy of the instrument. Lots of options there to try out.
The neck is great - I can get around on it with ease. The pickups are beautifully subtle, with an overall warmth. The nitro cellulose might take a bit of getting used to, never having had experience of it before. It has a definite smell, which I'm sure will disappear in time, and the back of the neck feels a little sticky, but hopefully that will settle too.
Overall, the vibe is quite special. I really feel I have a quality instrument in my hands.
The tech guy at the store said he really cleaned out the innards, which were a little untidy, repaired a dry solder, and gave it a thorough set up. Having played it for a few hours, I think he set the action a little low - it's OK for jazz playing, but for blues I need a bit more room to manipulate the strings a bit more. Easily fixed, though.
The strings - stock - are a bit rough to the touch, so I'll be auditioning a few sets. Once I've got it all set up to my preferences, I'll make a video.
So far I'm very, very pleased.
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