yoslate Posted December 12, 2012 Posted December 12, 2012 John, every time I see this pic I think (hope) that thing is about to drop a litter! And yes, r. billy, John's P-90 Goldtop is a bad agent! And in your demo you said you were using aTop Hat Club Royale "TURNED UP".... My telephone would sound like Sean Costello through that! I got rid of a Top Hat Vibra-Trem 20 a few years ago. I deserve to have an eye put out! Good posts in this thread, boys....
Kuz Posted December 12, 2012 Posted December 12, 2012 RB69, I definitely would not call the Regular wind (not low wind) Lollars polite. They have a lot of output and slam the front of the amp. I can't/don't like to really compare how my two Lollar P-90 Heritages would sound compared to your clips, because I am not familiar with the amp & rig. But if you are saying that you used the low winds, that might be your issue right there. If anything, I think the regular wind Lollar P-90s are slightly a little too hot. I will try to post some clips with my H150 P90 and H535 P90 and you can be the judge. Just because I never pass up a photo chance.... My 535 P90 (first one ever made).... And rockin' the 150 P90 at PSP this summer.....
rockabilly69 Posted December 12, 2012 Posted December 12, 2012 Yoslate, that Tophat was stolen from me a while back, so I went and bought another, a TopHat Club Deluxe (6V6s), different tone, but still pretty cool. If I ever catch the thief that got that Royale I'll torture him/her slowly! And yes, your phone would sound righteous through it! I would love have to given Kuz's Goldtop a workout through that amp! Damn, with this thread, I may have to get a P90 Goldtop H150 sooner than expected. I tried to buy Slammer's before I bought my humbuckered H150, which I'm glad I did, but that Goldtop of his was calling my name:) Here's the TOPHAT Club Deluxe with the guitar that started my slide guitar P90 Jones:)
rockabilly69 Posted December 12, 2012 Posted December 12, 2012 OMG, Jesus Kuz that 535P90 is unbelievable! I think that's the most beautiful guitar I've seen on this site!!!
rockabilly69 Posted December 12, 2012 Posted December 12, 2012 I also think that how hot the wind of the P90 needs to be is directly proportional to the amp your using. Tweeds light up fast, and then just get dirtier from there. Tophats have master volumes but they sound best when they are cranked and are harder to light up then Tweeds. Even with 6V6's my Tophat sounds more Marshall/Vox than Fender. I think that's why alot of slide guitar players like Tweed amps they sing at a good level, and their innate squish-iness from the rectifier really makes the low strings sound great.
Guest HRB853370 Posted December 13, 2012 Posted December 13, 2012 I agree the playability would be there at that percentage, but I feel the percentage of the great sounding ones is so low because of what they used for parts, Yeah they used what they had lying around, but and what was lying around, was better than what they are using now. To get that sound you need the right ingredients, and burstbuckers and two piece fingerboards ain't part of that sound. And Slammer my next electric guitar will be made at Heritage! I like the handbuilt aspect too. I want a P90 Goldtop, but I want to have it built with what I feel are the proper parts, and I'll wait till those elfs at Throbak finish tooling up their P90's:) I love my Heritage H150 and I think mine sounds better (TO ME), then the one in that recording. But I think the chunk of wood on mine is probably more resonant, and the pickups I used I feel are better than than WCR's for the resonant tone that I personally look for. And to think, you almost got that Goldtop off me! I am glad I came to my senses!! And John (Kuz) has not only one H150 GT, but TWO!!!
mtpatty Posted December 13, 2012 Posted December 13, 2012 I agree pretty much with everything Kuz and others were saying, but what I implied that perhaps wasn't obvious was that, you would be very hard pressed to find a Gibson Les Paul from '57-'60 that was not awesome...Sure there are guitars that are around now that sound awesome and/or that can be modded to be awesome, but there is/was magic in whatever was lying around on Parson Street from '57-'60...or else it would not have provided the "holy grail" that most guitarists have aspired to since...
Kuz Posted December 13, 2012 Posted December 13, 2012 I agree pretty much with everything Kuz and others were saying, but what I implied that perhaps wasn't obvious was that, you would be very hard pressed to find a Gibson Les Paul from '57-'60 that was not awesome...Sure there are guitars that are around now that sound awesome and/or that can be modded to be awesome, but there is/was magic in whatever was lying around on Parson Street from '57-'60...or else it would not have provided the "holy grail" that most guitarists have aspired to since... Sorry, but I disagree. I have played many vintage guitars, some incredible and some were incredibly horrible tonally and unplayable. Some had great wood and some not so great. The old wood they used increased the chances of an incredible guitar but that was offset by the "build them as fast as you can with whatever you can" mentality. I believe that site unseen you are more likely to get an incredible guitar from Heritage, McInturff, Collings, and other small builders today, than site unseen getting an incredible one from '57-'60. I have owned my share of vintage guitar and flipped them to a large profit. I was AMAZED by the poeple that "Oohhed, and Ahhed" over a '66 Fender Jaguar that literally would not stay in tune after you played an open G chord, yet they gladly gave me $3.5K for it. Similar story for a '59 Diamond Anniversary Gretch. I am a player first and a pseudo-collector (by default due the number of guitars I own) and ALL my guitars must play and sound terrific or I am not buying. The incredible sounding and playing vintage guitars are out there, but if you take into consideration those that need new frets, neck resets or worse warped necks, bad action, have been refinished, ect., all things that devalue the guitar..... I would say the number of incredible sounding & playing vintage guitars that have not been modified or repaired is only 15-20%. AND those 15-20% are all picked over. Vintage is cool, but I will take a great sounding functional new guitar any day over picked over, over valued, closet queen/wall hanger vintage guitars. Just my opinions, due to my experiences. YMMV
Kuz Posted December 13, 2012 Posted December 13, 2012 I agree pretty much with everything Kuz and others were saying, but what I implied that perhaps wasn't obvious was that, you would be very hard pressed to find a Gibson Les Paul from '57-'60 that was not awesome...Sure there are guitars that are around now that sound awesome and/or that can be modded to be awesome, but there is/was magic in whatever was lying around on Parson Street from '57-'60...or else it would not have provided the "holy grail" that most guitarists have aspired to since... I don't know if you read this but I started another post about concert violinist that were asked to pick their favorite violin from new ones to priceless ones from the 1700s.... worth the read!!! Here is a link: Are vintage guitars superior in tone to great guitars made today? Well, concert violinist can't tell the difference!!!!!!!!!!!!! http://www.guardian....st-stradivarius
mtpatty Posted December 13, 2012 Posted December 13, 2012 I don't know if you read this but I started another post about concert violinist that were asked to pick their favorite violin from new ones to priceless ones from the 1700s.... worth the read!!! Here is a link: Are vintage guitars superior in tone to great guitars made today? Well, concert violinist can't tell the difference!!!!!!!!!!!!! http://www.guardian....st-stradivarius Thanks for the article- and the information
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