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I have an Epiphone “Joe Pass” which I have upgraded with ’59 pickups. I play this guitar a lot and considered it worth the expense but the upgrade has only partly been successful. The bridge pickup is perfect; it delivers the cleanest jazz tone I could wish for. The neck pickup however far too twangy, so much so that I don’t like the sound and therefore do not use it.

Based on majorly bad checking that occurred in transport on my Warmoth neck this last weekend, I’m a little leery about getting a neck from them right now since cold weather has set in. The thought of a freshly laquered neck sitting on a UPS truck in freezing temps is very appealing.

I actually had a very pleasurable experience FOR THE FIRST TIME at the quot;GuiTargetquot; (LOVE THAT!) yesterday while checking out the Lonestar Special.

I maybe looking to unload some parts.... I used to make homemade strats and teles and over the years i had bought many different bridges and now have a few sitting around that i never used....

Whats your favorite tone from these artists...

do metal covers reduce feedback?

Anyone have experience with this amp? How does it compare to the Legacy? I love the idea of three channels. I know sight unseen the clean tones are killer - just because all Carvin tube amps have unbelievable clean tones.

Other than Ibanez and some of the Fender's, who makes some or all of their guitars in Japan? I've found that as a general rule, (but not always), Japanese made guitars are perhaps a little bit better, or at least more consistent with their quality than Korea or China. I own 1 Japanese Ibanez now, and just got lucky finding a brand new Japanese made Charvel Traditional from AMS, which I should have tomorrow. I'm now on the lookout for other Japanese made stuff. Any help?

So I've had my paul for a while, and have the thing adjusted all the way down. Seems logical that this would be the best position for more sustain/resonance whatever, but I've heard some information stating otherwise.

hey folks