Tag: Gibson Guitars

Serial Numbers

A few years ago I found a website that lets you use the serial number from your Gibson guitar to get information about your Gibson guitar. At the time I had two Gibson guitars. I’ll look them up again, then I will look up my two newer Gibson guitars.

First, my Les Paul Custom:

Your guitar was made at the
Nashville Plant, TN, USA
on September 18th, 1978
Production Number: 27

Next, my ES-335 Pro:

Your guitar was made at the
Kalamazoo Plant, MI, USA
on December 5th, 1979
Production Number: 127

Okay then, those are my two older guitars which might technically be considered “vintage.” Now let us check on the two guitars from the 21st century.

Start with my SG Standard:

Well… this is weird. There are two hits.

Your guitar was made at the
Nashville Plant, TN, USA
on March 10th, 2012
Production Number: 286

Your guitar was made at the
Nashville Plant, TN, USA
in 2018
Production Number: 2258

Right. I bought this one new after Gibson declared bankruptcy in 2018. It actually has a stamp on the back of the headstock right under the serial number that says, “Made in USA 2018 Model.” I guess that means it’s a 2018.

Okay, now lastly my Les Paul Standard 50’s:

Your guitar was made at the
Nashville Plant, TN, USA
in 2023
Production Number: 210004

Huh… right… so the guitar that my wife bought me for my 50th birthday back in 2021 was made in 2023… huh… so looks like the app doesn’t know how to handle the serial numbers from 2021. I guess I should Google it to see if I can find anything…

Turns out they changed the serial number format in 2019 and now we have this info:

It was made on November 16, 2020 and is production number 42.

I can tell by the look on all of your faces that you are fascinated by this.

I Don’t Hate It

The Gibson Theodore… a lot of people hate it. I… I guess I… I guess I don’t hate it. I sure don’t love it, but I don’t think I hate it. I almost think it’s cool.

I’ll embed a video below that goes into depth, but the deal is that a few years ago Gibson unearthed a guitar design that was unused back in the golden era of the 1950’s and did a short, very expensive, run out of their custom shop. Recently they released a standard production model that is also grossly expensive, but a whole lot less expensive than the original version.

Yeah the body shape is kinda dumb. I liked the custom shop’s use of P90 pickups rather than the USA version’s use of humbuckers. I like the four knobs on the custom shop over the two master controls on the USA. I very much greatly prefer the bridge on the USA version.

I don’t know. Like I said, I don’t love it but I don’t really hate it. Weird, huh?

Change of subject: unrelated, both the Bruins and the Red Sox won today. The Red Sox snapped a really ugly four game losing streak. The Bruins… I think… clinched the Atlantic Division title… I think… didn’t they? No… did they? I knew they needed a win over Pittsburgh tonight, but I can’t remember if it was a win OR a Florida Panthers loss would clinch things, or was it a win AND a Panthers loss? Also, did the Panthers need to lose, or lose in regulation? I don’t remember. The Bruins won in regulation and the Panthers won in overtime. I guess I’ll find out the answer to this question in the morning. Whatevs, both of my teams won today. Happiness.

Back to the main topic. Where does the Theodore sit on my Gibson Guitar I-Want-One list?

  • Les Paul Junior
  • Les Paul Standard 50’s with P90 pickups
  • Firebird, but not a studio. I want the Firebird mini-humbuckers, not standard humbuckers
  • Les Paul Deluxe
  • Insert the Theodore here? Maybe.
  • Les Paul Special, or SG Special, or SG Junior
  • ES-330

Damn… that’s a long list. It’s also an insanely expensive list. Come on, Gibson USA. Help a brother out. Bring those prices down. I don’t want to start thinking about Epiphones. I’m a Gibson snob after all.

Frets

Last night I started googling “luthiers near me” to see if I could find a shop that will replace the frets on two of my guitars. I’ve been sending out emails asking for info on whether or not the shops handle jobs like that, and if so about how much can I expect to spend.

Most have not responded. The few that have said that they don’t do fret replacements. You know, I really do not want to ship these guitars back to Gibson, but I will if I have to. Jen used to work for a company that had an office in Tennessee. If she still did I could maybe weasel a trip down there somehow. That would be preferable to shipping, right?

I expected the most difficult part of this process would be coming up with the money. I believe I did that yesterday. Now I find that finding someplace to do it is the hard part? I really don’t want to go to Guitar Center again.

Ugh, stress.

This is What Avoidance Looks Like

If you ever wanted to see someone distracting himself from a painful situation and thus being a textbook case of avoidance, this post is it.

As someone who owns two Les Pauls and an SG, this is the single greatest video ever made.

I watched it yesterday before things went south and I was going to post this then, but instead I am doing it now as a form of deflection. If you don’t like it, you can suck it.

Gibson Records

A few years ago (2018, I think) Gibson Guitars went into chapter 11 bankruptcy. The generally accept reason for the financial difficulties was the acquisition of a bunch of companies that were audio related but not necessarily guitar related. They seemed to see themselves becoming a high end audio dealer and it blew up in their face and they went bankrupt.

Here we are, a few years later, and they have restructured and put their focus back onto guitars and things are said to be going well. Not long ago they announced they were buying Mesa Boogie. Many of us who are fans of the company wondered if maybe it was a bad idea to start acquiring other companies, though if you gotta buy someone Boogie seems like a can’t lose because they are frankly awesome. People who aren’t fans of the company announced the death of a legendary amplifier company. I consider myself a Fender amp guy, but there are a couple of Mesa Boogie amps that have always challenged my loyalty. As long as I’ve been playing, I could always see myself becoming a Mesa Boogie guy. More recently, the California Tweed…… drooool.

Now here we are in the pandemic world and Gibson announces a new venture… a record company… Ummm… I foresee the Gibson hater community tearing them a new one over this and frankly I think they are right. A record company? Three years out from bankruptcy and you’re starting a record company? You’re feeding your money into a dying industry? Why would you do that? That is just… dumb.

On the upside, I’m a Gibson guy. Maybe they’ll release Quarantine Tunes Volumes 1-4 for me. I could be a rock star! Except that there is no such thing as rock stars anymore and the record business is dying an agonizing death.

Oh well.

Les Paul Lessons

This week’s That Pedal Show is all about Fender Strats. I tried to love my Strat but I just couldn’t connect with it. It’s a killer guitar and I got some great sounds out of it. It just doesn’t feel like home though. I watched the episode but it took a few sittings to get through it. As soon as it was done I went back to the Les Paul vs ES-335 episode from last December because I needed to feel at home again.

I took out my new Les Paul and noodled along. I am pretty sure I am going to have to start talking to a therapist soon. Until then, playing guitar will have to do.

Les Paul Standard 50’s into a Ryra The Klone into a Vox AC15. In case you were curious. Recorded with the iPhone mic, which means you likely won’t be curious.

What did This Teach Me

Now that I have done a little experimenting with using an extension speaker cabinet in place of the built in speakers on my Bassbreaker 18/30, what did I learn?

I don’t know.

First, as expected there wasn’t a ton of difference in volume. The 18 watt channel, with the volume as low as it could go and actually produce sound, through the two built in speakers was peaking at around 103 decibels. Surprisingly, the 30 watt channel, under the same circumstances, was peaking at about 101 decibels. Through the 1×12 extension cab the 18 watt channel was peaking at about 98 decibels and the 30 watt channel at about 97. So quieter, but not enough to make a difference.

Both channels sounded really nice while plugging in direct and going through the extension speaker. Maybe not quite as nice as through the two 12 inch speakers, but it was good.

When I started pushing with pedals everything changed. The Ryra Klon clone into both channels sounded pretty good, though super trebly through the 30 watt side. I have made that complaint about this amp before. The 30 watt channel is SUPER toppy. With the Ryra it was noteworthy but I tend to keep the treble high on that pedal anyway. I turned it down some and it was a smidge better.

The Ryra was set with the overdrive very low so it was mostly a clean signal. When I kicked on the Malaise Forever Black Lives Matter on the 18 watt I had a pretty rockin’ distortion level but it wasn’t all that great. When I switched back to the 30 watt channel it sounded like garbage. It was fizzy and thin and it sounded like I had all of the bass and mids off and the treble cranked. I didn’t. I had the treble set to about 1, the mids set to about 7, and the bass at about 9. I turned the Ryra off so it was just the Malaise Forever and it was a little better, but not much. I ended up turning the treble on the amp to 0 and diming the bass and mid, and then turning the tone on both overdrive pedals to about 9:00. I switched back to the 18 watt channel and fudged with the tone pots on the pedals and found something decent, but the whole idea of using this amp was to have the 30 watts worth of headroom.

I then switched out the Malaise Forever for the Wampler Plexi Drive Mini and it still made the high pitched hum that it had when it was going through the two 15 watt amps, but that is due to the shitty power supply I’m using. Playing it with the Ryra and through the 18 watt channel was much better than it had been through the 15 watt amps. That little increase in headroom helped a lot. If I played power chords down low on the neck I still had some of that over compressed mushiness I was bitching about during RPM, but for the most part it was better. I switched to the 30 watt channel and all of that compression was gone. Granted, it still sounded like toppy dog shit. Ugh.

So what did I learn. I learned that if I want to record with the 1×12 extension cab bypassing the built in 2×12 then I will probably have to rely on the 18 watt channel. Once the little speaker soak attenuator arrives I will hopefully be able to crank up the 30 watt channel a ton and maybe get a less shitty tone without blowing the roof off of the house. I know I sounded very trebly when I was using this amp with Lizardfish, but it wasn’t this bad, was it?

I think the final lesson may be that I just miss my Deluxe Reverb even more than I already knew. Oh for the end of the ‘rona.