skankdelvar

Indeed. It's generally held is that the 5 and 6 digit serial numbering system from 1952-1960 was more or less reliable in the context of measuring output. The revised 6 digit system which ran from 1961 to 1970 seems to be viewed as the least reliable of all the numbering systems used by Gibson over the last six decades. More here: http://www.guitarscollector.com/gibson-serial-numbers.html Another funny thing: Ted McCarty was the Gibson President whose term in office saw the introduction of the Gibson bass, the Les Paul, the Tune-o-Matic bridge, the Gibson humbucking pick-up, the Melody Maker, the Flying V, the Explorer, the ES-335, the SG and the Firebird. For all that he embraced innovation TedMcCarty - just like Leo - wasn't a guitar player. Ted McCarty (right) with Les Paul

Because I'm a sad bastard with time on my hands: Source: Guitar HQ / Gibson Interesting thing here is that the Standard had been on the slide as early as 1955. Also, that Gibson production of all Les Paul derived models dropped by nearly 1/3 between '59 and '60 - the main bulk of the drop being not the Standard but the Junior.

Interesting site here detailing the late 60's Les Pauls: http://latesixtieslespauls.com/default.asp

My sources inform me that Mr Brynner's suave man-about-town-ish-ness and slightly menacing persona were the factors that swung it for him with the casting director; the absence of hair was an unexpected bonus. That and the fact he's a cheap hire, being brown bread and all.

Apologies if you know about the following: Before you apply the polish, remove any dirt from the body with a lightly damped cotton duster (or a bit of old t-shirt). Once clean, wipe it over again with another bit of clean cotton. Then apply the polish very sparingly using a clean duster or aforementioned bit of old t-shirt. Scrape excess gunge off the fretboard with an old credit card or similar. Don't use a metal blade. If your bass has a maple fretboard there's no point in applying fretboard conditioner; just clean the board over with a lightly damped cotton duster or rag and dry it off. If your bass has a rosewood (dark) board apply fretboard conditioner in little dabs between each fret using a bit of kitchen roll. Work the conditioner in. Less is better than more - you don't want a sticky fretboard.

BassChat: The Movie - News Tinseltown reels as Brit-flick provisional cast list leaked: Chris O'Dowd as: Kiwi Zachary Quinto as: Ped Christopher Plummer as: The Bass Doc / Sir Charles Lytton Yul Brynner as: Happy Jack Alan Bennett as: Billy Apple Brian Blessed as: Dad3353 / Prince Michael Bakunin

According to knowledgeable fanbois, Norlin (Gibson's owners prior to Juskiwiecz) instituted a cost-saving programme in 1970 which ceased to offer the attractive but time consuming concave dishing on the body top. Les Pauls carved in such a way are known as dome tops; the centre of the body slopes down towards the edge in a shallow convex curve. This period 1970-1983 aligns with the Les Paul Recording's lifespan 1970-1979. After 1983 the concave dishing was re-introduced, so that's one thing we for which we might thank Henry J. At one time I owned a 1980 Standard - the top was definitely 'domed' compared to historic and more modern Les Pauls.

To be fair, even though the solid-bodies bear the brunt of criticism the acoustics out of Bozeman and the semis are all pretty nice. This may be because Gibson senior management are completely unaware that they own those two other guitar-making divisions and have therefore not taken the opportunity to fly in and FTUBAR. The Epiphone re-issues are rather jolly little chaps. And even the entry level Epiphone Les Paul suggests a bit of thought has gone into the looks. Epiphone '66 Century Epiphone '62 Sorrento ^ I've got one of these (but with aftermarket P90's) ^ Beautifully made, replica period hard case, plays nice, sounds lush. Epiphone Embassy Bonamassa Firebird I (with proper banjo tuners) Epiphone Les Paul SL - bolt on neck, £89.00. Pretty.

Compared to some of Gibson's recent and more loathsome efforts it's not actually that bad. Have a gander at these lovelies (pukes into his shoe): Les Paul Hot Pink Fade Reverse V The N-225 The Holy Explorer The Firebird X Some Sort of Hideous Zakk Wylde Mash-Up The 'Every Expense Spared' Firebird The SG Zoot Suit ... and winner of the 'We're Only In It For The Money' Award The Gibson Authentic Hendrix Strat I've left out some of the recent Melody Maker cheapos, in part because I don't want to upset MacDaddy and in part because they're not actually very ugly. Well, only a bit.

Strictly speaking, we were known as The Dictator's.

The problem I had gigging with Hitler was he was always booking shows hundreds of miles from home, usually in the dead of winter. Getting back was often a nightmare; we'd be on the road, up to our nuts in snow and he'd just swan off on the train with his mates. It all started well enough; touring the continent, big crowds, good money. Then we took on too much work and the quality began to slide; eventually he'd call band meetings then just ramble on about 'the future' even though we weren't getting the gigs anymore. It all collapsed when he suddenly told us he didn't want to carry on and that he was more interested in marrying his girlfriend. I'd do it all again, mind you.

Indeed so. I saw and played an aluminium Roswell when they first came out. Interesting but not quite right for a pub blues band. I also agree that the Modern V and the Roswell (whether aluminium or wood) are not strictly comparable in terms of construction or accoutrements. The issue for me is the body shape.

Gibson: how do I hate thee? Let me count the ways. Here's the new 'Modern V' - apparently a new take on the 1967 V OK, not all bad, you think. You look closer and see a list price of $4499. Ouch! But - still - there's something about it that intrigues you. Then you discover it's got a richlite (compressed paper and resin) fingerboard. Alright, Martin use richlite on their cheaper (but still nice) acoustics. And you know that at least one reasonably well-known luthier's refretted a richlite board and pronounced it acceptable. But Richlite on a four-and-a-half grand guitar? Even so, the look still tugs at you. It's one of the less butt-ugly models Gibson have put out recently. Unique, almost. Then - being of a certain age - you dimly remember the Jackson Roswell Rhoads which first came out in the 1990's. Wow, must be worth a fortune, right. Secondhand Roswell went for just under £700 on Reverb just before Xmas. Another one went on the bay for £1500. So, $4499 for a slightly less-than-unique V mash-up with a richlite board. Thanks, Gibson. Thank you so very f**king much.

Jesus, are people still doing that after nearly 70 years of mass market electric guitars?

Quite so. The most majestic of ST TV themes, imo.

My thanks to those who have contributed photographic evidence. You have cheered me up no end.

Edit for stupid double post no delete facility new forum software fiasco instructing my solicitors punitive damages.

80's arena rocker Mr Billy Squier has been known to become vexed when 'Squier' is pronounced to rhyme with beer. For obvious reasons.

Pic of dapper Epi Stathopoulo: More about him here: http://www.epiphone.com/News/Features/2017/The-Amazing-Tale-of-Epi-Stathopoulo.aspx

Apropos of nothing though still in the field of entitled 'Artistes' one of the funniest out-takes I've seen was actor Ed Harris throwing a complete hissy fit during the filming of The Rock because a tech walked into his eye-line and took him 'out of character'. Considering Ed was playing the part of a deranged General trying to lob cruise missiles at San Francisco you'd have thought he could have skipped the method-acting bit and just pretended to be a deranged General trying to lob cruise missiles at San Francisco.

Nice. Like the S/B but wd go for Candy-apple red 'under the radar' approach.

I owned an original 1987 until a couple of years ago. Dunno what the RI is like but my 1987 was almost completely unusable in a home environment. Tried a power soak - quieter but lost all the tone. Even for recording it was so loud there was too much bleed onto the drum mikes. The other thing about 1987s is that anywhere below full beans they're actually fairly clean amps by modern standards. To get the rhythm crunch I wanted I was running either a TS or a Colorsound Overdriver clone into the front end and bridging the two channels. Getting 'the Marshall sound' is problematic for a couple of reasons: * There's more than one Marshall sound; Plexis, Mk2s, 70's Superleads , JCM800's each have their own flavour. * I've tried the modern little 5 watt Marshalls and they don't do it for me. Far too boxy and constipated There's a modestly radical alternative which I've now adopted; a small, clean valve amp (15w) and a good Marshall-in-a-box pedal, e.g. Catalinbread DLS, Wampler Plexidrive / Plextortion / Pinnacle, JHS Angry Charlie. Check them out. The advantage to this approach is that i) One can swap in other flavours of pedal in order to approximate Fenders, Voxes ii) One can run the pedal (not the amp) directly into one's recording device (start with all knobs on zero then adjust), slap a cab sim across it and away you go.

The approved flats for Rics are Pyramids, IIRC. Some Ric fans seem to think that round wounds are heresy... Congrats on the 660; lovely guitar. Me, I'd settle for a 610. PS: Have a look here: http://www.rickresource.com/forum/ - bound to be a thread or two about flats.

If you mean the right hand ... Sparko used a pick on Roxette. Various shots of him here: