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Found 9 results

  1. Hello everyone! I'm new to working on guitars and I've done a bit of research on this and haven't found any solid information. I picked up a Chibson because I liked the look of the guitar but thought I could easily swap out the pups after watching a tutorial or two. The problem I'm running into is that the guitar doesn't have any back plates and the tutorials I've watched required access to the volume/tone pots. I could be missing something simple here but could someone please explain how I'd go about swapping the pups on this guitar? Thanks in advance!
  2. A few weeks ago I started working on a pair of basses based around the old Gibson RD style from the late seventies/early eighties.... The basis of the Gibson RD was not too far removed from the classic Thunderbird design, however the through-neck of the Thunderbird and Firebird were eschewed in favour of the more familiar Gibson set-neck approach. The hardware was typical of Gibson basses at the time being a three-point bridge with its own little quirks. The two configurations ("Standard", "Artist") came passive with small soapbar humbuckers or active with a full Moog-designed filter circui
  3. Straight from the factory or off the shelf, an instrument rarely has its nut slots cut to ideal depths. Generally they are always cut a little high so that the instrument is buzz free out of the gate. For most people, slightly high nut slots go unnoticed and the tougher feel to the strings near the nut gets taken for granted. Before proceeding, ensure that your guitar is correctly strung up to pitch using the string gauges you normally use on that instrument and that your neck is reasonably straight with a little relief as per the previous step in this series. Check that your fretwork is not i
  4. From the album: Prostheta's Past builds

    Set-neck Birch bass in paint....
  5. I recently picked up an 84' designer series gibson flying V. My first V and yes I love it. Other than the selector wired backwards, the electronics seem to be in good shape but I decided to replace the bridge PU with a Dimarzio tone zone. Works like a charm and sounds amazing. The stock neck pickup howls feedback like crazy with my hi gain loud volumes and has too much low end. I'd like to save the stocker, I don't use the neck PU for anything other than a weaker vintage sound so the tone is ok just too bassy. I'm thinking of wax potting the bucker and maybe experimenting with a cap in seri
  6. Up until 1973 Gibson's bass bridges were fairly primitive and somewhat fault-prone but still relatively advanced in comparison to those in use by Fender. The introduction of their "three-point" bridge eliminated most of the existing problems of older bar or "two-point" bridges but introduced many of its own quirks. Still in use on modern Gibson and Epiphone basses, the three-point bass bridge is a proven design albeit mired in its traditional roots with much room for improvement. Up until the introduction of the SuperTone, upgrades for Gibson basses were near non-existent. The wide mounting po
  7. This is a project which will have a reasonably lengthy build-up time, so this thread exists purely to gather information, consolidate the design and work methodologies. A little background. I have never built an acoustic or archtop previously to this, so much of this particular thread will consist of my research and references to information online or from books, etc. The Gibson EB-750 and its sister the EB-650 were extremely rare (less than 100) basses built upon the designs of the Gibson ES range. The EB-750 was (as far as I am aware) the same underlying design as ES-175 but with a bass n
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