Bob & Ramon Show EP.11 - Vintage Gibson Les Pauls (1957, 1958 & 1959)
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- Опубліковано 23 лют 2020
- PATREON : / theguitarshow
Bob and Ramon bring you 3 amazing vintage Gibson Les Pauls. Don't forget to subscribe for more vintage guitar collections in the future!
Bob & Ramon Show has now moved to its own exclusive YT channel - subscribe here:
/ @thebobandramonshow
Thanks!
Now that is a collection of Les Pauls! and that F'n tone! Holy Mother of God!
I watch this, the happiness on your faces, and I think to myself, thank God I met the guitar in my life, thank you for sharing this joy.
Pleasure Christian and great to know you found 'your' guitar
I can't thank you enough showing these fine instruments. Some of us will never be able to play or maybe even see one. I have to live through you. Thanks for all you do.
Hi Lin I really hope one day you will be able to pay one. I feel you deserve to. Best R
@@TheGuitarShow That's very nice of you to say. In the mean time, I'll be content to see those types of fine instruments watching you play them.
Channeling Peter Green..I could hear his smooth and distinctive voice accompanying you. This was a spirtual experience for a 67-year-old! Thank you, gentlemen.
Pleasure Rob and thanks so much for watching
Excellent guitar players. Beautiful!
Many thanks indeed
Young musician here, grew up on Elmore James, Peter Green's FM, the Stones...I will have one of these guitars someday soon.
wish you the best my friend, best I could do is buy a '59 Reissue made to measure and pay the stratospheric $1000 for the '59 pickups .. $11K in the hole and while it sounds great, it's not the same thing --- sigh.
That jam at the 15 minute mark is bliss. Both playing off each other perfectly 😮❤
Lower output pickups are heavenly. They have a wider frequency range - hot pups have a lot of mids and less highs and sound muddy in comparison. Another thing about those vintage PAFs is that they were unpotted. That contributes to the open airy tone if there is a slight hint of a microphonic nature to them.
Pick up high is very important to me. The right high and you get the right amount of dynamics and clearness.
I have a 57 goldtop a 58 and a 59!!!
Unfortunately mine are all reissues, but I love em.
Nothing wrong with reissues I love the fact you have all 3!!!
@@TheGuitarShow which one was your favourite to play from those 3 vintage Gibson's?
@@srubberalittle we need to visit you for a video!
@@srubberalittle do you really?
Definetely agree with the "pickup height" adjustment. The first time I lowered the pickups on my Strat I was amazed at the difference.
Yes it accounts for a lot of the tone
That Goldtop rocks, literally.
Thanx Bob and Ramon... your playing is wonderful.
The '59 w/ the Grovers made me think of Bloomie...
Cheers, lads
Thanks Jonny means a lot
The bridge PAF sound reminds me of a telecaster, but fatter. The neck PAF is heavenly, with a bloom rarely found on PAF clones. Exquisite sounding both.
Thanks for sharing those beautiful vintage instruments, and commenting on their characteristics, which takes a knowledgable person who has played many.
Cheers!
Pleasure David and yes I agree a telecaster is very in a similar tonal ball park. Led zep I had ppl fooled for years that Jimmy used a Lester when in fact he used a tele. Thanks
@@TheGuitarShow I most certainly agree, I have an old Marshall modified to Plexi specs, any Telecaster plugged into that Marshall with a few tweaks perfectly nails the original Led Zeppelin tone.
I just want to put some pillows or something behind his '59 on that small little stand next to the swinging door!
I really liked that gold top thanks for showing us 🇺🇸
Edit: sorry '58
It was making me nervous as well lol
Bob is definitely on point regarding low output pickups , height and running an amp with headroom. Still experimenting with it! Hope to see you soon Ram
Mark Boweevil
Thanks Mark for checking it out
Yeah, I've a vintage spec Les Paul I had built and installed a set of Burstbucker #1 and #2 pickups in it. The early Gibson Burstbucker pickups I have are un-potted Alnico 2 with un-balanced bobbin resistance. To my ears in that guitar they are the best sounding pickups I've played in my 44 years of playing.
Granted I'm no expert, however with guitars in general being so subjective the only person you need to worry about pleasing is oneself.
What it takes to bring a Les Paul alive is having low output pickups while having the amplifier cranked, then just use the guitar's volume to dial in the amount of crunch you want, it's magical.
Thank you gentlemen! Now I'll go and dig out my 1997 58 reissue and pretend! Ha ha ha...
🙏🙏🙏🙏 Thank you!
Probably sounds just as good...
Oh what a pleasure to hear you boys breathe life into these priceless treasures..you did them justice, your playing was terrific.
Love the GOLDTOP and SUNBURST. Both are beautiful guitars
Always good to see Bob on the show 👍
Such good content. Thanks for letting us regular dudes drool over these crazy Les Pauls. Rock on.
Many thanks indeed
Welcome back guys amazing as always you both bring musical joy 🙏
Thanks Elvis
I just love this stuff !
Thanks we did too! 🙏
Absolutely incredible to ser these guitars thank you and the owner for showing us and playing them it's amazing to see them I love this series
Thanks for sharing this. Absolutely gorgeous pieces and the sounds are stellar.
Cheers
Thanks Ricardo that means a lot
Dude Bob shreds! Love these videos.
Bob is the man!
Lovely stuff! Many thanks for posting these vids.
Pleasure Chris
stunning guitars
Thanks Connor they were ace!
9 0393 was Tom Wittrocks old burst. Seen it on the Les Paul Formum. Sweet! From his pics to this video, you can tell it’s faded out some of the red some
Great video with excellent playing as always guys; thank you so much for doing these. I am fortunate to have a friend who over the years has had a few 59s and 60s, and each time I played one, I had to get over the realisation that I was initially scared of it. I know that sounds daft, but once past the mystique created by the instrument as a result of its rarity, value and the fact I was actually playing a ‘real’ one, I had the time of my life. They just have that indescribable ‘something’ about them.
Agree with you 100% thanks for watching
Always enjoy Bob and Ramon’s show.
Awesome video! The guitars are amazing and the playing in this video was outstanding.
Thanks so much Erik
Thanks for sharing this awesome content!!
Pleasure
Hello Bob. I met and had a jam with Snowy about fifty years ago.
I cannot remember the exact year, but he was in a band with my mate called Valhalla UK.
He had a gold top Les Paul with the cream P90's but he had painted the top black.
Gold wasn't regarded as being very cool in those days.......,
I used a blonde Telecaster that was lying around and we both went through ac30's.
Nice afternoon jamming in Lambourne End (somewhere near Chigwell).
Great sounding guitars by the way, and superb playing from both of you.
Bob...... You are too modest. You are a very good player with real 'feel'. Feel is what it's all about.
You also listen. Many, many musicians can technically play amazing stuff, but they don't listen to what is going on around them. They cannot seem to multi-task ....... Playing and listening at the same time.
Lol..... Hello Ramon. Don't want you to feel left out..... 🤗
Love those bursts but give me the gold top. Great video gentlemen!
I loved the goldtop!
Those are great sounding guitars and great playing by both.
Man I love this you guys are fantastic and so fun to watch cheers from California
Thanks Craig for watching!
Love both your playing. Awesome. Guys!
Thanks John
Awesome Bob you and the kid always seem like you're having a great time 🙏 God bless and stay safe
The 1959 has more pop and natural compression. Just amazing
GREAT VIDEO
Hello from Michigan. You two are absolutely great! Really enjoy your videos! 👍🏻
Many thanks indeed Tyler
What a great video. To listen to an old timer talk about all his experiences and knowledge on these instruments. I do wish the recording was better. I will guarantee that the tone in the room was much different. But none the less, i loved it. What a treat.
59 Les Paul Sunburst, nice and shiny. People who think they need a Murphy Labs guitar to get an authentic aged Les Paul, look at how actual vintage Les Paul owners have looked after their instruments for the past 70 years!
Bob is bloody awesome too
Thanks
Fender Guru Thank you. I love playing but dob’t consider myself much good. I’m perversely fortunate to have the honour of knowing quite a few players who leave me well behind, Ramon being one of them.
Have to plug into a proper 50 watt Marshall, old Celestions and a delicious Tone Bender with the volume knob rolled back.
Like living in brilliant fashion mate, the circling birds mate ,the circling birds...
I agree!!!
Thank you, gentlemen for the beautiful demo of these iconic guitars. All three look and sound wonderful; and thanks for foregoing the cliche "amps on 11" blowout that dominates many a UA-cam review.
Thanks so much 🙏
There are pickup makers out there that can replicate these originals pretty well. Just have to find the right pickup maker. Brands like throbak have made it popular over in the states. However I owned some $800 throbaks and they sounded crap. They came in the guitar that I bought. David Leddin from Brisbane Australia.... my friend, who has owned several original PAF equiped guitars, recommended Daves pickups to me. He said they are as good as the originals...I now have two sets of his PAF pickups and couldn't be happier. I also have a strat set. Amazing. I have played several 60s strats and 335s. Dave's are up there with the best. It can be done. There is unfortunately so much advertising out there for brand names that have all this "hype" about them when really we should all just be trying different stuff and actually listening to it to judge the tone. Anyway, Dave leddin... check out his pickups. You won't be disappointed.
Wonderful swampy playing gentlemen.
Thanks
I love your videos
The neck pickup is quite bright and the bridge is smooth and creamy (burst)
Thank you to the anonymous Gentleman for lending these guitars and thanks guys for another killer show.
Thanks for watching Paul
Bloody hell!!! These Les Pauls are dead brilliant!
Thanks Erik
Nice video Ram
Thanls bro
Wow, fortune guitars ! Sounds great.
Thanks
The secret is finally out now. The volume control is the answer. Joe B has a UA-cam video demonstrating the importance of the volume controls on a LP Check it out.
I’m sure the proud owner of these fine vintage LP’s must have acquired them before their price shot up beyond money.
Nice presentation too.
In a really resonant Les paul i prefer 7.2K-7.7K for the neck and 7.8K-8.4KK range for P.A.F winds.
Once they get to 8.5K there is some compression i don't like. in a weaker guitar i may use a hotter
P.A.F but not in the real good sounding Paul's. Throbak makes some really authentic sets and OX4 and Wizz are really good.
I agree with your thoughts here!
Do you know what guys, the penny has just dropped for me. You can spend an absolute fortune on pre and post production but when the tone actually lives in the guitar - now that’s the difference between a musical instrument and a plank. Que two guys sitting in the front room pulling some awesome tones out of nowhere
Love your thoughts on loving mint V guitars.... I come from the same angle always looking for the most pristine n original case....interesting most look the other way, I blame Clapton ha ha 😉🤘😎🤘
Thanks lol
Hi Ramon, I wanted to say your tone on crossroads is really bang on. I'm just curious, so even if someone buys say Wizz pickups, you still won't get that exact tone? I will say one thing about you guys, you have excellent taste in music, not like all of the crap that's out today. Mind you there are some good players are out there today, but they're still playing the old tunes. Keep up these great videos.
Thanks Michael, this is such a subjective topic that I promise to do a comparison video in the future to see which pickups sound closest. But in sure Wizz are great if they work for you, thanks so much for watching.
Great videos, lovely guitars, but why are they never compared using the same amp, surely that has a bearing on tone??
I think the words (thank you for sharing) is a bit of a understatement in this case but I’ll throw it out there anyways. Ha! Thank you very much for sharing.
🙏Thank you for watching!
YES!! The boys are back in town.
🙏
The more I hear ‘57s and ‘58 Goldtops the more I prefer them to sunbursts. Some fabulous Goldtop tones over the years.
Fantastic show guys, really enjoyed it. My only comment, as someone lucky enough to own one some really nice old set of pafs is yes there is a difference, but a GOOD chunk of what you are talking about on the transparency is the centralab pots. I don't know why but they have that and the modern pots of the same value don't. As much difference as PAFs to my ears, and I know someone who's had countless old guitars through his hands who said he'd noticed exactly the same! Odd...
Excellent point yes Ive heard this also... I'll get Bob to talk about this in the next video... Thanks for the heads up🙏
@@TheGuitarShow It would be great if the show could provide some direct evidence for any such difference. Because "transparency in the centralab pots" sounds like total BS to anyone with any understanding of guitar electronics. This is why the general understanding of how electric guitars work is so poor in some quarters, when anecdotal assertions like this are given credence. A much more plausible explanation is that known PAF variations are thus loaded differently by the same pot resistance value. Or actual resistance value variation due to pot tolerance. Or pickup height interactions as was suggested in the show.
@@vw9659 I've heard that the reason the Centralab pots have more "transparency" is that they were wildly out of spec, and that 500k pots measure more like 600-750k, letting more highs through.
@@SirVicc Yes, variable actual resistance (either at the extreme of tolerance range, or beyond) would make complete electronic sense. Unlike the original assertion from the OP that the same (measured) resistance value might somehow sound different with the Centralabs pots.
nice jam
Thanks
It's a bit of a shame for these Grovers on that '59, but they look alright: aged well !! Awesome pair (the guitars... but also the guys and the playing ;-)
Thanks Rene 🙏
Looks like Mr. Rogers plays like Clapton
you touch on points I often say in my business practice to clients. As with single coils, they have the clarity but the magnets are the pole pieces and from my perspective I see them as a magnetic drag on the string which would result in the slowing and interference with the vibration of the string......as the baseline would be an acoustic guitar. I should mention to clarify, I an on the electronics end of things as I build/design guitar amplifiers as well as do service and repairs. SO from that aspect I look at the guitar as a source signal and nothing else emotionally connected beyond that as a disciplinary thing. SO you want the PU down from the strings till the signal starts to drop out in strength.....and from that point then bring it back up till it just apex's getting strong. You want to ride that zone of the magnetic field......you don't want to keep moving into that area and closer to the strings. What the results are is a natural decay of the string vibration much the same as an acoustic guitar in principle......which in theory is sustain. Most people think of sustain as electronic sustain where it stay loud and sings on for an extended period of time. But in this case its the long decay of the string vibration and thus sound....so you would have to play the guitar as such. WHICH moves on to the interaction of the source signal and the amplifier pre-amp......I tune the package to interact properly. I tune my amps to my baseline guitar......then I have my client play with their guitar and its not quite going to be exactly the same.....so I have to adjust their guitars while I have them play mine so they get an understanding. You touch on some other points in that equation because the tone capacitor in the guitar is also critical. I like using a value between .01uf and .015uf for the tone cap.....but that is subjective to the actual pickup. SO with the value being different than the traditional .02uf cap bumble bee can be a bit misleading. There is a tolerance variance in the capacitors so they can be spot on with the value marked or higher or lower. BUT nobody really examines that openly......so a .02uf bumble bee cap might actually read .014uf in that magic guitar.......which is approximately within the value of cap I mention. BUT going into the details, the right value cap lets you have the full sweep of the tone pot for adjustment as just turning it back 2 notches doesn't have it make the guitar go suddenly dark and muddy as they can react in so many guitars out there....that people are used to and think its proper. The tone control when tuned right should just roll off the highs without making it go muddy dark. SO there is the magic "woman tone". But as I mention...its subjective to the actual pickup being used and the measured actual value of the cap and dialing it in as its just a gradual variation within the window. I would start with a .01uf and parallel add a .001 or a .002 cap to dial in to adjust to find the perfect spot with the control pot
further on into the guitar adjustment as per tuning it to the amplifier......with single coils.....the source is a low signal and other than deal with the height adjustments on the pu's...thats about it. For bridge position pickups that might be too bright, I'll add on a ferrous base plate of various thickness to add inductance to roll off the highs to tame it down for a more mid-range situation. You always produce the fundamental and over tones...the upper harmonic content........you just don't want it over emphasized or exaggerated. NOW as for humbuckers......the same all applies but there is a situation with them. the purpose was to cancel hum based on the 2 coils and in theory it was to be similar in performance to the single coils........BUT its not as it generates alittle more signal. SO I look at the balance of the guitars pu's as there is a combined position of the switch other than the individual dedicated positions......so they have to have the right blend but they also need balanced between the 2 individual positions. The neck position will see a wider string swing in its vibration than the bridge.....and the neck might turn out to be louder in the guitar even when dropped down away from the strings. SO to attenuate that and let the bridge PU become louder since its a traditional lead aspect for a driver to drive the amp......I'll employ an attenuating resistor on the hot wire at the switch connection. WHAT YOU mentioned about turning down to 8 on the volume pot sort of goes in that direction in a way. Based on how a volume pot works, when its on 10 and wide open......the source voltage is separated to ground by the whole value of the pot and the signal out to the output jack is pure without any resistance and thats what hits the amp pre-amp......full on. SO when you dial back the guitar volume pot, you begin to add resistance going to the output jack to hit the amplifier.....and reduce the separation to ground for the pickups output.....so its attenuating 2 ways. The more critical is sending signal to ground where it is not getting used and passed on. SO from my perspective, I adjust the balance of the 2 pickups in the guitar......then determine how the signal will hit the pre-amp of the amplifier......and I might attenuate the signal further by adding a resistor at the guitars output jack....and or at the pickup switch with resistors on both pickups..... I control the hottness of the signal going out to hit the amplifier and drive the amp....as I let the amplifier adjust the full wave and exploit the wave in the amplifiers electronics. NOW another factor which is being missed......and its turning all around the magnetism......the older pickups have older magnets which have aged and lost some of the original strength......but whether new and strong or aged and weakened.....you still adjust for the magnetic field present in the pickup in situation
the guitar as a signal source to drive the pre-amp in the amplifier......as with single coils.....less is more. I don't like using the term "headroom"....I think dynamics is a better word. SO as with humbuckers, you don't want to adjust them to the aspect of a single coil minus the hum.....you still want some juice to them......BUT NOT TOO MUCH. AT the end of the day, when you play.....you will most likely use some sort of foot pedals for sound textures......and then there is your fingers. SO if you attack lightly .....you produce a lesser signal and if you attack hard...you generate more signal......you have the textures within the pedals......and if you need more of a signal kick....you can employ a clean inline pre-amp or play with an inline for a touch of texture.....so within that....you have fuzz or distortion or overdrive.....or just clean transparent. THATS with the premise of the modern players and there foot pedals.....they use amplifiers all wrong. They use the amp as a clean platform and get all their sound synthetically and artificially in the foot pedals via solid state electronics. I'm opposite that as with my aspect.....a tube amp should sound like a tube amp and I design for that...so its all real and organic.......my tone quest started with the premise of....."why should I need a foot pedal to make a tube amp sound like a tube amp"......and here I am 40 years later. Not that it took me 40 years to achieve, that was more within a year or 2 of research and development in the beginning....then add 40 years.
When you talk about the old guitars, yes there is a factor of age with them drying out and getting played in and worn in.....BUT the difference which is missed deals with materials science on how it applies to tone coupling. The materials of the metal work might look the same in modern guitars but its not. You have to go passed the visual. The stop bar tail pieces have changed from being 30 gram light weight aluminum to a heavier material that runs about 80 grams. The tail piece studs need to be steel plus have the steel inserts in the wood. The bridge has to have the brass saddles and be mounted on brass thumb wheel adjusters with brass posts into the wood. The modern guitars use steel instead of brass and stainless steel......so the materials transmit and couple differently. As you mention, its the physical finish and feel.....but its also the materials......and the age of the wood as for it being dried out from age thats hard to recreate with newer wood. The slot in the bridge saddles is also critical.....the surface area of coupling transmission......you get more if the slot is cut accurately deep with the string more "in" to the saddle than having it ride just on top of the saddle in a notch. On the other side of that equation....the frets....the wider flatter the fret...the more coupling transmission
our ears are trained because of the original recordings of music from the day...the stuff that influenced and moved us all. THEY didn't have time machines....they were just using the average equipment of the day in that window of time. BUT it was either new or gently used.....it wasn't 50/60 years old and deteriorated and worn out. I deal with it in doing service, the originality. 50/60 year old original caps that have broken down and deteriorated don't sound like what they were..... coming off the assembly line from day one.....so the amp you hear today that's all original is actually malfunctioning and not what its supposed to sound like because you are under the spell of originality.....WOOD and WINE tend to improve with age while everything else doesn't
I wonder if his friend is Sir Paul McCartney.
Don't think so, but could be wrong.
First thought: Instruments owned by PM being Lefty?
I just figured he lent them out strictly because they were in his righty pile. ;)
Wasn't his name M? (I seem to recall from an earlier video.)
@@HeyjAjSayJ lol
Mark Knopfler
WOW!!
Cork sniffers. Pffft. I'd sell those guitars, buy me a nice Gretsch, an Alfa Romeo and a nice home to live in.
I love Alfa Romeos!
So I’ve come to really love this channel, I do have a question? Bob has some beautiful guitars. But is Bob just a rich guy who bought these recently for astronomical prices? Which is fine, if I had big money, I would be buying up alot of vintage Gibsons. Or has Bob been around these beautiful guitars and he purchases most of them back when they were just used gear and didn’t cost the money of a home to purchases them? Love this channel!!
What is the guitar case on the first one?
This is so absurd. What a great video.
Thanks 🙏
I'm jealous how do you guys come with these vintage guitars lol I have an 86 model les Paul custom that I just ordered a new nut which I desperately need to replace the thing I have to do is score it first with a utility knife actually a very sharp one I'm gonna probably put a piece of blue tape right at the joint once I drilled out bigger holes in an older model Charvel to put lock tuners on it which now it stays in tune like a charm but on the les Paul if I can pull it off I can lower the action possibly make a fabulous guitar 😎🇨🇱🤘
Bob had some great friends! Many thanks for watching nothing with the 86 Custom!!!
The ‘58 is mine, my lifelong dream and the only inanimate love of my life. And like Ramon says, I’ve made some good friends amongst fellow collectors over the years. Please keep watching as we get round them to unbox their fantastic stuff...
Rockbeareguitars Just clicked on your channel and was very pleased to discover Undiminished on there.
Nice tidy band and I have to say WHAT A F***ING GREAT drummer.
I have played with all sorts of good drummers and one or two not-so-good ones, and your boy has just the right feel. Nothing flash and self-indulgent, just does the business..... Cheers 🍻
Billy Goat Gruff The drummer in Undiminished was Steve Martinez. The singer and I went on to form another band, Broken Blue with the excellent Riza Jazeel on the kit.
Love em! hate em because I'm left handed. Would go for a 56 Custom if I could play it.
Joe is playing at the Brighton Centre on 25th April in which I'm going to.
Bob and Ramon if your going or ever dropping by Brighton I would love to talk to you! Keep up the good videos!
Would be a pleasure Eathan we will let you know
@@TheGuitarShow that's great cheers!
Bob is there any way I can take online lessons from you. I want to learn to play like you in this incredible video. I'm just an old studio guy in New York finally having time to get into guitar again...you are so incredibly tasteful and your feel is exquisite. I'm serious...
@Rockbeare Guitars Hi Bob, Thank you so much for considering this. I downloaded Zoom so if you want to set up a zoom meeting I just need to know what time. If this message private as I hope it is I can send you my email as well. Just lmk and I'm thinking maybe we can talk for a couple of minutes to communicate on the basics. I look forward to hearing from you and thank you again for your indulgence in this. Best, Chris
Hey guys! what a tone!!!
Ramon what amp are you using?
Thank's
Nice video !,!, did you use 0.10 or 0.9 strings.....???
CesitarLabarthe Gold & ‘59 are 10-46, my ‘58 is 10.5-50.
Thank you very much really
They say the good 59s sound open that's similar to the open sound of a tele with both pups on. Maybe it's YT but these sound like production l.ps. they sound a little dark and compressed like mine. IMO the Gibson tribute with the half inch maple cap sound and no body filler with a thin satin finish are more open sounding, less compressed, and more woody sounding. I've been playing for 50 years. The tributes neck have a fender feel to them which I don't like. My vintage v100 has an accurate Gibson neck profile but it's not as raw sounding. My late 80s Heritage l.p. sounded more like an old Gibson than what the Gmen were making. Remember mine was made when the ex Gibson employees who started Heritage were building them like the old days. They were cementing their reputation
Thank you for sharing this moment.
Pleasure
Bobs time...
VERY nice LP's. Any SG's?
I'm wandering the same Criss.... Bob??
But turns out you want it LOUD and POWERFUL with max SUSTAIN, you put it to 10, as far as it WILL go. : ) I get what you mean though, when you turn it a bit down you get sweetness and subtleties, and particularly going down to 4 will make you get a thinner sound which can be great for strumming and a more strat like staccato sound, however, however, you turn up to 10 again for solo, and no one knows what has just become. : )
Sometimes I just want to keep turning, and can't. After this the pick takes over for power duties and the ability of your band mates to withstand trebley, sharp sounds and loud dbs. : )
You see guys, I have a great old Les Paul copy? But you see still have a cheap strat copy cause I want trebley and thin, staccato sound but you guys do not review any strats here. : )
Arh the rhythm you guys get at 16:00 is magic. : )
And the older guy, you r using your fingers, that sounds sweet. : )
We will have to review some strats in the near future. Thanks for your comments. Yes Bob used mostly his fingers and I use my fingers 50% of the time. Thanks
Regarding what Bob begins talking about at 11:49, I recall watching a UA-cam video of Bonamassa talking about getting various tones where he points at the control knobs and says, "These are on here for a reason."
Thanks for this
Great vid fellas! Q for Bob....Are you a southerner or did you migrate south from the midlands at some point? \m/
I'll let Bob answer this one..
Little things about his accent says yes. But who really cares one way or the other?
@@tree267 It's just a long shot! Maybe our paths crossed many moons ago,or maybe not :-)
Central London born and bred apart from a four year stint of secondary education at public boarding school near Peterborough...
The 59 tone is like no other guitar if only they were not so stupidly expensive
what, you think you'd have a chance of owning one? there are no more than 1,500 in the world. that's nothing knowing how desired they are.
The gold top sounds very 355 bb king sound
I agree Bill
Ask Macca if he'll lend me his 60 for 30 mins... then we can jam
Cool idea bro!!!
well bob, my vintage lemon drop i bought shop damaged 120 bucks with a partial next split ,and a mk 1 katana, cos im cheap bugger....
Nice!!!
@@TheGuitarShow ; just painting my tokai sg,pelham blue , pick ups aint great, shall i go for a set of epiphone burstbuckers i can coil split , or a set of humbucker size p.90s after who, live at leeds...in my dreams suggestions welcome
@@moontheloon1969 p90s are a good idea Warren Haynes plays an SG with those p90s in check out the govt mule rig rundown
@@TheGuitarShow . thanks my prize possesion ,is my schecter PT, if you ever get chance play one , very bad ass tele
@@moontheloon1969 I always remember Mark Knopfler playing Schecters I think he's still plays the red Schecter tele.. Great guitars
500,000-600,000$ within 3 guitars lol. Makes me nervous watching this because if he accidentally knocked over the guitar next to him and broke a headstock it would be a 100,000$ mistake lol. wild
I know!
Tuners are your friends.. Reach out.....
Assange can play 👍
🙏🙏🙏
'It helps if you got fingers' LOL
Ok hear come the gas
Lol
I bet Mr. Bonamassa would love those babies. He has a few Lol.
I agree!
Amazing video guys, as always. It would be amazing to have Joe... Cross fingers!
Btw Ramon, you play amazing, but in my humble opinion you could improve your timming a little bit more. Your great playing was harmed because of the notes were not in time
@@benjohnson4810 around 16:30. It just came to my mind, and of course it is a matter of taste
You are so right. His timming is way off, but his timing is not too bad....
It makes me laugh this vintage guitar malarkey, "you can't replicate that tone yet they all sound so different", would it be fair to say that some of that tone is down to the fact you know the history and rareness of what your holding so there's a natural tendency to over think it ? The old the more people say somethings good the more it sinks in
Great comment you have a good point
As far as the PAF pickups all being a bit different that in and of itself perpetuates the whole mystery and desire of an original Burst. I live not too far from the old Kalamazoo Gibson Plant. Not far from me are ThroBak Electronics who've gone to great pains to faithfully recreate the magic of the PAF pickup. ThroBak has even gone so far as to purchase the original pickup winding equipment from Gibson. On one of their videos ThroBak Electronics Founder Jon Gundry demonstrates and explains one of the old Resistance/Ohm meters used to check each PAF pickup during the 1950s production. That vintage Ohm Meter only has a 500 Ohm resolution to it's analog meter used to indicate the resistance measurement. Given that PAF pickups were normally less than 8K Ohms a 500 Ohm resolution becomes ridiculous to use for the purpose of manufacturing consistency. Back in the 50s pickups were not a new technology but I do feel they were not given the priority they enjoy currently.
So yeah, those pickups back in the 50s were wound/produced by production workers basically flying by the seat of their pants using mostly their own work experience to do the best job they could. It's no wonder each pickup has it's own individual sound/tone.
Fascinating really, I would almost guarantee that back in the day none of the production people would ever imagine the pickups they were producing would ever be so valuable/coveted.
For myself, the more I research/learn about Vintage guitars the more interesting they become.
Great Video and Content, Thank You Both.
@@hkguitar1984 fascinating! Great comment. 👍
I suspect that critique works better on paper than in practice. Yes there is variance in tone, but it's from the same cloth. Whereas modern pups might be consistent to a 0.01 of an ohm...but they are all from a different cloth .. Old PAFS : the materials, the way they aged, yes, the nostalgia many of us feel from that precise sound and just the idea of it....it all adds up to a unique sonic experience.
Some truth to what you say but couple other things to consider is nitro finish usually has hardened to like glass so and wood was top notch very old when it was built unlike what can be sourced today so dried out and opened up. Those 2 things make them very resonant. The old pickups like P90s used weaker magnets and were more or less underwound vs alnico 5 magnets and machine wrapping 10,000 turns. The PAF was all over the place as far as wraps but used I think short bar alnico 2 and 3 magnets and enamel coated 42 Guage wire i could be a little wrong where today the wire Guage is smaller and cheaper probably more wraps and most of the time alnico 5 magnets which boost midrange. So just those things alone can be big factors to alot of the vintage sound. Playing style and like you said thinking you hear magic sounds because its vintage is also alot of it. I think those things I mentioned above usually strait into cranked amps usually small amps in the studio is where that vintage tone is people using modern equipment and huge amps are chasing. Who knows . All I know is I want a p90 goldtop or humbuckers I really want a gold top cause they got all the magic mojo.