roysessions
Member
- Joined
- Jun 23, 2016
- Messages
- 43
Very nice!Felt like sharing a photo of this beauty. Harness still attached and I play through a Y cable. I was advised to keep it stereo and not screw anything up. Feel lucky to get to play it!
Cheers everyone
gorgeous!!!Very nice!
Here's mine. It's an early 1959 with the black Varitone ring. All original except the Schallers. I typically play it through an old Mesa Boogie or an older blackface Super Reverb. (Behind it is a 1995 R9.)
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i actually havent tried stereo yet- probably should! lol.Beautiful !! Good move leaving the stereo wiring intact. I mono'd a buddy's ES-345, but when I got mine and figured out how cool stereo is and what you can do with it, not to mention how easy it is to work around it. There is no need to alter these guitars. Btw, here's my often seen lefty from 1964.
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It is interesting to know that your 345 has double whites. My 345 has double blacks. While they're hot PAFs, measuring in the low 8Ωs, I wouldn't call mine a 'Burst killer.My beloved 1959, bought from the long time thinline master Gil Southworth, very strong double white PAFs.
Never liked the stereo/varitone extra honk (slight cocked wah tonality versus a mono hook up), so had Hogy lift out the circuit. Probably weighs almost a pound lighter and has a louder acoustic quality given space created by removal of the electronics. Sold my 1959 ES 335 and 355 because would never play them versus this instrument.
Sits in middle between former 1959 mates:
Yes, the "'Burst Killer" thing doesn't compute with me. Don't get me wrong, my 345 is darn zippy, but to be sure, a close listen should distinguish it from a Les Paul.BK - Do you play with two amps?
Closest I come to jazz is when someone calls a jam band # like "The Chicken" or "Chameleon" or "Just the Two of Us" or "On Broadway" or "Masquerade"...though one guy, just once called "Killer Joe"!
The "Burst killer" BS is BS for folks who can't hear the difference between a thinline and a sold body...which probably means they get all their tone from pedals, or buzzmeister amps, not great guitars into classic tube amps.
The stereo guitars were intended to be used with stereo amps which had two separate, hence, out of phase, channels. Like a Gibson Stereo amp or nearly any old Fender. One pickup went to one channel, the other to a different channel. Because the amp channels were out of phase, the out of phase pickups put it all back in phase. (Think: -1 x -1 = 1, more or less.)One thing I forgot to mention, my guitar is still stock, except someone flipped the magnet in the neck pickup, so the "Greeny thing" isn't part of my guitar. Anyone know why Gibson put pickups magnets out of faze originally?
No McLaughlin for me at the moment! But "Meeting of the Spirits" has been discussed.Doing some Mahavishnu with the double neck?
Only jazzer to use one was John...and perhaps you.
ThanksThe stereo guitars were intended to be used with stereo amps which had two separate, hence, out of phase, channels. Like a Gibson Stereo amp or nearly any old Fender. One pickup went to one channel, the other to a different channel. Because the amp channels were out of phase, the out of phase pickups put it all back in phase. (Think: -1 x -1 = 1, more or less.)
I think this is the basic idea, I'm sure there are subtleties I'm overlooking.
Just Beautiful!It is interesting to know that your 345 has double whites. My 345 has double blacks. While they're hot PAFs, measuring in the low 8Ωs, I wouldn't call mine a 'Burst killer.
- Although I had a guitar friend over a few months ago who did proclaim that my 345 was a 'Burst killer ... maybe my standards are out of whack...!
I tend to live in the middle position, fiddling with the volume knobs dialing the out-of-phase sound in and out as the ensemble (jazz/bop) I play with requires. I use the Varitone, #2 and #3 often.