Gibson弦枕有分ABR-1跟Tune-o-matic，螺絲孔在前面的是ABR-1(LP R9)，在後的是Tune-o-matic(LP Standard)，兩種弦枕的規格有些不一樣，要看Gibson型號的規格是怎麼配。
Tune-o-matic是弦枕的名字吧？ (這我不是很確定) 我最常看到的就兩種： 一種是上面有一條鐵絲的(ABR-1？)，寬度比較細． 一種是沒有鐵絲的，寬度較寬．(大部分是放在STD跟Custom上) 之前跟蘇利拿了一個德製Schaller(不知道有沒有拼錯，有點忘了) Tune-o-matic... 實在貴的不像話，一個要價3800． ABR-1在台灣很好找，Gibson自己就有出． 然後我之前也一直有這問題，螺絲向前向後，有差嗎？-_-
请问各位，小弟现在想买一把GIBSON LP STD,想问大家一下，1、gibson在香港购买便宜还是在日本购买便宜呢？2、在日本购买二手的gibson会不会买到假货？大约多少价钱？在日本哪里能买到真的二手gibson呢？谢谢！
超美的R9出現了 有預算的趕快抱回家睡覺吧! http://cgi.ebay.com/Gibson-Custom-shop-Historic-Les-Paul-59-Reissue_W0QQitemZ140309587315QQcmdZViewItemQQptZGuitar?hash=item140309587315&_trksid=p3286.c0.m14&_trkparms=66%3A2%7C65%3A3%7C39%3A1%7C240%3A1318
分享最近買的Gibson Historic '57 Black Beauty，外觀跟LP Custom比較後發現'57 BB滿多地方不一樣 1.琴身的厚度，LP Custom比'57 BB厚了約0.5CM，這是我覺得最不可思議的地方，以前以為都一樣，所以'57 BB也稍微輕一些。 2.'57 BB的烤漆比較復古一些，表面比較粗，還略可以看到木頭的毛孔，LP Custom則是非常光亮。 3.Binding比較黃，LP Custom是純白的Binding。 4.Truss Rod Cover是Historic款的。
最近一直研究老les Paul的聲音;如果座時光機回到1959年買一把剛出廠les paul回到現在跟2008年的custom shop les Paul PK不知道誰會贏?? 以下貼個文順便摘一下重點部份 THE FIVE FACTORS WHICH CREATE THE ‘1959 BURST’ ACCORDING TO MAX BARANET MAX是replica最有名的大師 "Various factors all came together in 1959 to produce what I, and many others, consider to be the ultimate electric guitar, the 1959 Burst. I have spent 38 years studying genuine 1950’s Bursts and reproducing their sound. I have found that there are five main factors responsible for creating the 1959 Burst sound". THE WOOD " The Honduras mahogany used in the 1950’s to build guitars was cut from trees that were hundreds of years old. This wood is often referred to as ‘old growth’. It is a very excellent carving wood. Due to its popularity with furniture makers, boat builders and guitar makers, it is now gone. Used up. The mahogany available now is grown on plantations. For whatever reasons it is very different from old growth mahogany. It might as well be considered a completely different type of wood. I have experimented with it and found it to be very unsatisfactory for reproducing a true 59 Burst tone compared to ‘old growth’ Honduras mahogany". "Since about 80% of the wood used to build a Burst is Honduras mahogany, this is obviously the most important wood contributing to the tone. I used only old growth Honduras mahogany from the 1950’s just like the 1950’s Bursts were built from. I used old growth Brazilian rosewood for my fretboards and Eastern hard maple for the tops". 這段文章大意是50年代用的木頭是長了好幾百年的樹砍下來的;跟現在用農場種植栽培的木頭有很大的不同. Max試過用現在的木頭作出的琴聲音不是很滿意. THE GLUE "There are four basic pieces of wood that make a Burst style guitar. The fretboard, the neck, the body and the maple top. Obviously then there are three basic glue joints between the nut and bridge. One is between the fretboard and the neck, another between the neck and body and the third is between the body and the maple top. In order to produce good tone these four pieces must resonate as one". "For hundreds of years musical instrument builders used ‘hide glue’ to build guitars. Hide glue was still used in the 1950’s. This type of glue soaks into the wood and hardens to a glass like consistency. It leaves a minimal film between the two surfaces being joined. Since it dries to a glass like consistency it resonates with the vibrations in the guitar". " If you hold up a piece of glass and tap it lightly with a hard object it will ring. If you do the same with a sheet of plastic, the plastic will not ring, instead it absorbs the vibrations. The same principle is in effect with hide glue, brittle and glasslike, versus modern glues that are not". "Modern glues do not penetrate the wood as well as hide glue. They leave a film between each piece of wood. Thus the four basic pieces of the guitar are insulated from each other. The vibrations traveling through the guitar between the nut and the bridge are muffled at all three glue joints. Modern glues kill the tone of the guitar". "I used hide glue in the construction of these guitars". 這段說明黏膠的使用: 50年代的製琴廠用的是hide glue(動物皮骨提煉,遇熱可化開);這種膠跟幾百年前小提琴用的一樣,這種膠可以滲入木頭;硬化後跟玻璃一樣而且很薄.(木頭跟木頭間隙很小加上硬化後跟玻璃一樣所以不會吸收震動) 現代用的黏膠並不會滲入木頭;是在木頭外形成很厚的膠質粘合,所以每片木頭變成獨立的;震動不能很確實的傳導. THE FINISH "In the 1950’s guitar manufacturers used nitrocellulose lacquer. This lacquer dries very hard and brittle. It becomes a resonant part of the guitar. Unfortunately it also chips and cracks more easily; therefore modern manufacturers don’t use it. "Modern lacquers use plasticizers that keep the finish soft and flexible. The same principle of the resonance of glass versus plastic applies here. It would be the same as wrapping large rubber bands around an acoustic guitar. The rubber bands would absorb the vibrations of the guitar and deaden the sound". "I used old style nitrocellulose lacquer (without plasticizers) on these guitars". nitrocellulose lacquer(硝化纖維塗料)乾了會很硬又易脆,可以跟琴身合為一体傳達共振.但是因為很硬又易脆所以現在的工廠沒有使用了. 現代使用的漆都有加朔型劑使漆面成型容易且不易脆,卻會吃掉共振. 順道問一下有人知道Tom Murphy為什麼一定要堅持人工刻裂痕? dave johnson用的是nitrocellulose lacquer產生天然裂痕. 在國外dave johnson評價幾乎是神的境界. http://www.vintagerestorations.net/id82.html CONSTRUCTION SPECIFICATIONS "During my 30+ years experience repairing and restoring musical instruments, I had the opportunity to closely inspect many vintage guitars. Gibson, Fender, Martin, Rickenbacker, Gretsch, etc. Many were damaged beyond repair and consequently I was able to completely dismantle them and blueprint them. It is from this valuable resource of data that I am able to build guitars today". "All specifications, dimensions, materials and construction procedures that contribute to the sound of an original 1950’s Burst are exactly duplicated in my guitars. Headstock angle, neck angle, scale length, neck profile, cavity sizes, etc., are all identical to an original 1950’s Burst". THE PICKUPS "The original 1950’s PAF pickup is definitely a very important factor in creating the ‘59 Burst tone. These can still be acquired from vintage parts dealers and are highly recommended. SUMMATION " A true ’59 Burst tone can only be acquired in one of the following ways. Buy an original 1950’s Burst for $200,000 - $500,000, buy a ‘57 or ‘58 PAF Goldtop for $100,000 - $200,000, buy a 1950’s Goldtop Conversion or buy one of my guitars. I think these guitars come the closest to reproducing a true ’59 Burst sound than any other". - Max Baranet 看完之後發現1千萬跟10萬並不是只有差別在時間而已...
引用ALI大的發文 這段說明黏膠的使用: 50年代的製琴廠用的是hide glue(動物皮骨提煉,遇熱可化開);這種膠跟幾百年前小提琴用的一樣,這種膠可以滲入木頭;硬化後跟玻璃一樣而且很薄.(木頭跟木頭間隙很小加上硬化後跟玻璃一樣所以不會吸收震動) 現代用的黏膠並不會滲入木頭;是在木頭外形成很厚的膠質粘合,所以每片木頭變成獨立的;震動不能很確實的傳導. 那為什麼以前的膠現在不能用????有特別原因? 還是????