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Showing content with the highest reputation since 01/28/26 in all areas

  1. Have you looked at the Lightning stoptail? It slopes upwards so that the strings exit the tailpiece higher up. No need to top wrap for clearance, so you don't trash your stoptail finish. I thought about this one time, but these guys already did it. https://lightningguitars.com/ They're located in Hampshire UK.
    3 points
  2. The Grammy's. Haven't watched intentionally ever. Caught a few minutes back in the day when my kids were teens. Since getting re-married, I share my home with a 17 yr old HS senior, so it was on. I stayed in another part of the house, came into the kitchen, noticed Noah Kahan was playing, who I know and appreciate, and wouldn't you know, it's a music video prominently featuring a SB triple nickel with the pickguard in black. A rare guitar even amongst us fanboys. You figure there were 15 - 20 million viewers and Kahan is selling out stadiums these days. He's known for his semi fetish, but his go to is typically a Guild Starfire of Fender Coronado, with the occasional Fender Starcaster, or 335 thrown in, this is when he's not playing high end acoutstics. edit to add: looking at this I'm thinking it's an older custom? has block inlays and a headstock inlay but neither the headstock or neck are bound and the hardware is silver. Pawn shop find? It was a music video, not a live performance. He's lounging in the back of a Volvo stationwagon as it makes its way.
    2 points
  3. Bridge Type Approx. Length ABR‑1 (ABR) Shorter, narrower footprint Vintage design; limited saddle travel; lighter. Nashville Longer, wider footprint Modern design; more intonation range; larger body and saddle slots. Farber is ABR-1 sized. You can also top wrap the stop tail for better clearance, but the disadvantages are scaring the surface and if your style has your palm scraping over the strings, not too comfortable. Nashville bridges are physically longer because the housing is wider and the saddles have more room to move. ABR‑1 bridges are more compact, which is why vintage Gibson spacing and post locations differ from Nashville-equipped guitars.
    2 points
  4. Sweet! I have one of those. The light on the music stand, I mean. That is the first cowpoke I ever came across with a Sweet 16.
    1 point
  5. It sounds like he's a convert! He walks in to a store, plays a 530, and buys it on the spot and then adds a CC 535 later. Way cool!
    1 point
  6. My 2011 cherry 137 has a huge neck also
    1 point
  7. Pete said that the Plek machine is fully booked, just with their production. I think he might have said they run on weekends sometimes. There's no time for outside work.
    1 point
  8. Here’s your fret tapping tool!
    1 point
  9. Yeah leveling beam to level fretboards and frets. The radius is better at establishing the fretboard radius. I find they work well to radius the top of nuts too. I have a 2001 535 that I love. I got it used in pristine condition a couple of years ago. It left the factory with a very not level fretboard. It was like a roller coaster. It was also only 9.5 radius too. Some heroic effort had been applied in its prior life to level the fret tops. It played but had buzzes here and there. it just didn’t feel right either. Some frets were as tall as new wire, some were under .030 tall. Tried everything I could think of. Then just decided to pull the frets out and do it right. After leveling the board nicely and sanding it to a 10 inch radius refretting was a snap. Having a level substrate to set the frets in meant not much leveling work was necessary. Saved a lot of meat on the frets. Moral of the story, have a good look at the fretboard. If it ain’t level, the frets won’t be either.
    1 point
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