Discussion in 'Gibson SG' started by txclimber, Jan 15, 2020.
A beauty. I love tight grain too.
It could be your pots and caps/harness. I've changed out the harness of all of my newer guitars with paper in oil and 550k tested cts pots vintage wired harness. It made a positive difference in all of the guitars. Even if it doesn't "fix" this issue.
Are you sure the pickups are '57s? '61 pickups (not to be confused with '61 RI guotars, although I think they're stock in some of them) are bright, A5 pickups. I love them, but they're not '57s or 490s. They're bright and they bark.
I had a 2013 reissue, best neck I ever played on, had severe head dive and the ice pick 57 classics. I bought it new. I didn’t want to modify a new guitar so sold it and took the lose and never looked back, picked up a couple of Epiphone SG’s that we’re balanced... Iave the Classics a long chance on a couple of Gibson’s and ended up replacing them. Too mid and and up for me...
This right here. I start out on the high E side at 4/64ths of an inch and 5/64s on the low E side for all pickups, see how the bridge sounds, if that's where I want it, and either adjust or leave it be from there, then I adjust the other pickups to try to be at close to the same volume as the bridge pickup, maybe just a touch softer. That's my method, your mileage may vary.
Good advice if you only have one guitar, but if you have a few you'll constantly be adjusting the knobs, which may or may not be to one's liking. It isn't to mine.
As old as I am, I never really realized how limited my thinking was when it came to guitars. Until recently, I would want to swap out a pickup if it sounded too bright, rather than turn down the tone control on the guitar to 9-7 or so. This comes from a heavy metal mindset. When all I played was metal, every guitar had everything on 10, and rightly so (except for some of the brighter metal pickups). When I finally started playing other styles, this mindset didn't go away for far too long. Only posting a thread about it in here and reading replies really made me stop to think about my preconceived guitar notions.
Folks, check out post #6. The OP likes the brightness of the guitar and is trying to determine the root so it may be duplicated in other guitars (if possible).
Nice one OP!
I think we all need to take a moment and appreciate the Bright Gibsons out there.
They are very special to find, and a good, bright guitar will change the way you hear top-end.
I'm busy falling for a '16 Les Paul Classic that's the brightest Gibson i've ever heard, but in the most profoundly beautiful way.
Profoundly bright eh ? Hmm ...
But you're right. It is also much easier to tame a too bright guitar than the reverse.
I have a nice set of PAF Precious and Grace from Tyson Tone. I've had them in my Cherry Vintage G400 and they were ripping off the paint on the walls. That guitar is all brightness. I then put them in my heavily chambered LP Ultra and I lost the oomph and honk I like from that LP.
I was getting desperate I wouldn't find a guitar that would bring out what they have to give. These are incredible pickups.
Then yesterday as I was struggling to find what adjustment would make my dark look and dark tone Natural Vintage G400 sound less caverneous. That's when I remembered I had that PAF set waiting on the shelf. TADA ! Perfect match.
Like someone else mentioned, perhaps it has 61 zebras under the covers. I had some (covered) on a LP and they were hotter and with more high end bite than the 57 classic and 57 classic plus that I had on another LP. Nice tone but different.
Vintage style pups often sound bright. It is a good thing. Use your tone controls.
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