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veeman
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1#
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Rank:1958 Korina
Score:1147
Posts:927
From: USA 
Registered:31-01-2005
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RE:'07 Silverburst '84 reissue. A Review
(Date Posted:27-01-2008 11:11:56)
Those frets look the same as on my Explorer Pro. I like them alot.
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Mortenpmb
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2#
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Rank:1967 Cherry
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From: Denmark 
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RE:'07 Silverburst '84 reissue. A Review
(Date Posted:27-01-2008 15:59:48)
Hope the frets helps your playin' as much as mine.
I'm kinda wondering why you like pu rings. Is it the angle of the pu's to the strings or the sound or is it a combination of both?
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VRob98
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3#
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Rank:1980 Bound Fretboard
Score:103
Posts:71
From: United Kingdom 
Registered:02-10-2007
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RE:'07 Silverburst '84 reissue. A Review
(Date Posted:27-01-2008 17:07:55)
Nice review, thanks for posting.
I was on the fence about ordering one of these but decided to pass in the end (I didn't like the fact that it wasn't silverburst on the sides or back, and also didn't care for the placement of the control knobs.) Reading your comments, I think it's still probably not for me, though I can appreciate that it would make a good player. (The frets are pretty tall on the standard V Factor and Faded models too.)
It's not clear what V it's supposed to be a reissue of really, since two different (but similar looking) Vs were in circulation in '84. One had an alder body and maple neck with ebony fingerboard, whereas I think the other was all mahogany with rosewood fingerboard. For this reissue they seem to have combined elements of both, though in fact it doesn't visually look like either.
Btw, the silverburst finish actually appeared on a V earlier in 2007 when Gibson's Custom Shop did a run of V Customs for the Japanese market (some of which made it to ebay).
The thin finish doesn't surprise me; it's the same story with the white '84 Explorer GOW edition - apparently you can see the wood grain through the white, with lots of stories of 'orange peel' paint circulating. Gibson's QC on finish issues is certainly not great right now, even on Custom Shop models.
The ebony board is a nice touch though - I didn't know it had that. And a multi-piece body contruction never seems to stop Vs sounding great.
(Message edited by VRob98 On 27-01-2008 17:31:03)
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veeman
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4#
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Rank:1958 Korina
Score:1147
Posts:927
From: USA
Registered:31-01-2005
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RE:'07 Silverburst '84 reissue. A Review
(Date Posted:27-01-2008 21:27:29)
Reply to Mortenpmb (01/27/2008 11:01 AM).
Hope the frets helps your playin' as much as mine.
I'm kinda wondering why you like pu rings. Is it the angle of the pu's to the strings or the sound or is it a combination of both? |
Looks, my friend, Looks. The Flying V is, as far as I know, (which isn't much) the only Gibson that doesn't have p/u rings that should have them. They just look cool and correct on the V. They should be standard equipment on the V as far as I'm concerned. I should add that the 67's are the ones that don't have the rings. I think all the others do have them.
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71MedV
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5#
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Rank:V90 Double
Score:48
Posts:36
From: USA
Registered:25-09-2007
Time spent: 0 hours
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RE:'07 Silverburst '84 reissue. A Review
(Date Posted:27-01-2008 22:43:44)
Thanks for the review, I was wondering if anyone was going to get
one of these.
I think they refer to this model as the '84 reissue for the same reason
they used the term '67RI.
IIRC I read in print somewhere along time ago that the '67ri
was called that because the general appearance was like the
1967 V and not like the 1958 V.
Of course the reality is that there are many differences between
a 1967 flying v and the '67ri.
Later they spruced up the terminology to include
v-factor and other terms.
I think the same terminology is in effect here. It's called the
'84ri because it's general appearance is like a 1984
and not like a 1967 or a 1958 V.
As to the fact that the body isn't alder, that might
actually make me more interested in getting one.
The controls with the output jack between them
reminds me of the control layout on a melodymaker.
Thanks again for the review, I'm sure you'll like it.
71MedV
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Mortenpmb
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6#
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Rank:1967 Cherry
Score:538
Posts:382
From: Denmark
Registered:07-02-2007
Time spent: 8755 hours
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RE:'07 Silverburst '84 reissue. A Review
(Date Posted:28-01-2008 05:56:06)
Thanks a lot for your reactions to my first attempt at writing a review. I should have mentioned the '07 Silverburst Custom. I'll correct it to: It's a silverburst. The first edition of this colour in almost two decades (if we ignore the '07 Custom Shop edition) with a price tag reachable for normal mortals. 400 made.
Veeman, I'll never ever buy a Gibson Flying V without pu rings again. It might be so that you like the looks but they also improve the overall sound.
Back in '79 the guitarist in the band had a Greco V made of what looked like plywood. I sounded absolutely amazing through a Marshall. Of course it's no problem with more pieces of wood in a V body. It only makes it more stable. The real problem is how the finish looks in, say 20 years?
The frets are raised compared to my other Gibson Flying V's, '67 RI and Faded included. At least that's how it feels. After closer inspection the frets on the silverburst is only slightly taller than on my black '04. Maybe the smooth feeling of the ebony fretboard is deceiving.
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jeffwith1f
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7#
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Rank:1967 Cherry
Score:865
Posts:693
From: Canada 
Registered:22-02-2005
Time spent: 0 hours
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RE:'07 Silverburst '84 reissue. A Review
(Date Posted:28-01-2008 19:38:35)
well reviewed. if you find the pups to hot, try lowering them a pinch.
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beverlyvista
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8#
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Rank:1971 Medallion
Score:292
Posts:216
From: USA
Registered:30-08-2006
Time spent: 0 hours
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RE:'07 Silverburst '84 reissue. A Review
(Date Posted:30-01-2008 21:45:34)
I second the opinion that V's look better with PU rings, (sound better? Maybe...) Knowing someone else out there feels the same way lightens the burden on me for plopping them on my '78 29 years ago.
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Guest
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Reply To beverlyvista
(Date Posted:31-01-2008 02:06:26)
| I second the opinion that V's look better with PU rings, (sound better? Maybe...) Knowing someone else out there feels the same way lightens the burden on me for plopping them on my '78 29 years ago. |
May we see a picture of your '78?
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Guest
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RE:'07 Silverburst '84 reissue. A Review
(Date Posted:31-01-2008 05:28:29)
Interesting, do you really think that it changes the sound, when you add pickup rings to a 67RI?
Somebody tried that out? What`s the difference? Interesting, really interesting...totally
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beverlyvista
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11#
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Rank:1971 Medallion
Score:292
Posts:216
From: USA
Registered:30-08-2006
Time spent: 0 hours
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RE:'07 Silverburst '84 reissue. A Review
(Date Posted:31-01-2008 18:27:40)
 And, the pickup rings themselves... 
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veeman
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12#
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Rank:1958 Korina
Score:1147
Posts:927
From: USA
Registered:31-01-2005
Time spent: 0 hours
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RE:'07 Silverburst '84 reissue. A Review
(Date Posted:31-01-2008 21:14:52)
Now THAT, is s fine looking music machine!
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beverlyvista
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13#
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Rank:1971 Medallion
Score:292
Posts:216
From: USA
Registered:30-08-2006
Time spent: 0 hours
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RE:'07 Silverburst '84 reissue. A Review
(Date Posted:31-01-2008 23:00:22)
My 78's a humble thing, compared to some of the other guitars that have passed through my hands (the '59 Strat taken by a retreating girlfriend -- no big deal, it was only ten years old, I figured I could always get another one) -- but there's a reason I've held on to it all this time. Nothing compared to the Veeman collection, but I just love the hell out of it.
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Mortenpmb
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14#
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Rank:1967 Cherry
Score:538
Posts:382
From: Denmark
Registered:07-02-2007
Time spent: 8755 hours
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Reply To is_aimoo_guest
(Date Posted:01-02-2008 10:49:51)
Interesting, do you really think that it changes the sound, when you add pickup rings to a 67RI?
Somebody tried that out? What`s the difference? Interesting, really interesting...totally |
I know not everyone agrees with I'm about to say but it gives me an excuse to acquire more V's Over the last 3 decades I've had the privilege to once in a while hang out with professionals who know what they're talking about. And this is how it has been explained me. One of the small/tiny aspects that contribute to the overall sound of a guitar is the pu mounting. It's kinda simple. String movement transmit through bridge and saddle makes body vibrations which transmits to the pu. How much the body transmit to the pu depends on the transmisson/mounting. A pu mounted in the scratchplate will get the body vibrations from the scratcplate. Some scratchplates have a bend upwards from the body which gives a (lets cal it) different transmission. A pu mounted in a pu ring gets its body vibrations from the pu ring who is fastened solidly into the body. How much a solid body guitar vibrates from the strings if also determined by the thickness of the finish. The thinner the finish the better the wood can vibrate. And maybe that's also why so many think the Faded sounds better the normal '67 RI with the thicker finish. I don't necessarily mean that one characteristic is better than the other but rather expands the sound possibilities. A solid body has vibration characteristics depending on its body shape, neck shape and choice of materials. The way a V body vibrates is unique to the V. This my idea of how a guitar should sound and why I love the Gibson Flying V.
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cuthbert1978
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15#
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Rank:V90 Double
Score:50
Posts:38
From: Italy 
Registered:13-10-2008
Time spent: 0 hours
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RE:'07 Silverburst '84 reissue. A Review
(Date Posted:26-10-2008 10:30:14)
Forgive me father...
I bought one, in the end.
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cuthbert1978
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16#
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Rank:V90 Double
Score:50
Posts:38
From: Italy
Registered:13-10-2008
Time spent: 0 hours
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RE:'07 Silverburst '84 reissue. A Review
(Date Posted:26-10-2008 12:34:14)
[URL=http://imageshack.us]  [/URL] [URL=http://g.imageshack.us/img220/26102008208vx4.jpg/1/]  [/URL]
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cuthbert1978
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17#
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Rank:V90 Double
Score:50
Posts:38
From: Italy
Registered:13-10-2008
Time spent: 0 hours
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RE:'07 Silverburst '84 reissue. A Review
(Date Posted:26-10-2008 12:49:23)
One of the small/tiny aspects that contribute to the overall sound of a guitar is the pu mounting.
It's kinda simple. String movement transmit through bridge and saddle makes body vibrations which transmits to the pu.
How much the body transmit to the pu depends on the transmisson/mounting.
Morten, no offense, but a pickup doesn't work this way. At all. The pickup is a electro-magnetic generator that transform a mechanical vibration into a oscillating current through a perturbation of the magnetic field created by the inductance of the PU itself. The PU doesn't read any sound, just the variation of the magnetic field created by the vibration of the string, that must be made of a magnetic league, usually a nickel steel alloy, if the PU vibrates, for instance, like e archtop guitar, you have the famous Larsen effect, aka feedback, the solidbody guitar was invented to avoid that. The finish, wood and construction of the gutiar indirectly influence the sound because the vibration of the strings is reflected by these (in particular, the fretboard and the part of the body directly under the strings, and this reflection of the sound influence the vibration of the string, therefore the variation of the magnetic field.
Ok, end of the engineering rant.
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RobinS
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18#
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Rank:1971 Medallion
Score:282
Posts:246
Registered:01-05-2005
Time spent: 17018 hours
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RE:'07 Silverburst '84 reissue. A Review
(Date Posted:26-10-2008 15:03:31)
Cool review of a fine guitar.
My white 67RI has the same frets and ebony fretboard, so maybe the ebony fretboard is the key to this (bigger/higher) frets.
I don´t really like the 84 Flying Vs but this Reissue(sort of) seems to be something special.
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Mortenpmb
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19#
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Rank:1967 Cherry
Score:538
Posts:382
From: Denmark
Registered:07-02-2007
Time spent: 8755 hours
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Reply To cuthbert1978
(Date Posted:26-10-2008 15:21:22)
Reply to cuthbert1978 (26-10-2008 12:49:23)
One of the small/tiny aspects that contribute to the overall sound of a guitar is the pu mounting.
It's kinda simple. String movement transmit through bridge and saddle makes body vibrations which transmits to the pu.
How much the body transmit to the pu depends on the transmisson/mounting.
Morten, no offense, but a pickup doesn't work this way. At all. The pickup is a electro-magnetic generator that transform a mechanical vibration into a oscillating current through a perturbation of the magnetic field created by the inductance of the PU itself. The PU doesn't read any sound, just the variation of the magnetic field created by the vibration of the string, that must be made of a magnetic league, usually a nickel steel alloy, if the PU vibrates, for instance, like e archtop guitar, you have the famous Larsen effect, aka feedback, the solidbody guitar was invented to avoid that. The finish, wood and construction of the gutiar indirectly influence the sound because the vibration of the strings is reflected by these (in particular, the fretboard and the part of the body directly under the strings, and this reflection of the sound influence the vibration of the string, therefore the variation of the magnetic field.
Ok, end of the engineering rant.
I love this diskussion. And no offense to you either. What i describe is a boiled down version of what I've been explained by professionals over the last 30 years and by reading amongst others Guitar Player. I've never said it's defining the sound but contributing to same. It's one of those tiny details that's fun to take into consideration when modifying guitars as it's quite cheap compared to other mods. A bassplaying jam pal of mine changed his plastic pu rings to some homemade aluminium ones instead. He's not so much into the theoretics but we can both hear the difference. A lot for the better. More metallic top and firm bottom. Congratulations on your silverburst. Good choice. That's a bloody good guitar you got there! Are you gonna throw a Dimebucker in it?
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Larzer
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20#
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Rank:67 Reissue
Score:1
Posts:1
From: Sweden 
Registered:21-10-2008
Time spent: 0 hours
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RE:'07 Silverburst '84 reissue. A Review
(Date Posted:26-10-2008 16:08:27)
Im thinking about putting PU-rings on my V... But, how do I do it?
I can drill some holes, but what about the screws? Bolts on the inside of the pickguard?
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veeman
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21#
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Rank:1958 Korina
Score:1147
Posts:927
From: USA
Registered:31-01-2005
Time spent: 0 hours
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RE:'07 Silverburst '84 reissue. A Review
(Date Posted:26-10-2008 17:03:45)
I mount the p/u onto the rings first, set it in the right position then drill the screw holes. Make sure your drill bit is at least one size smaller than the screw.
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cuthbert1978
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22#
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Rank:V90 Double
Score:50
Posts:38
From: Italy
Registered:13-10-2008
Time spent: 0 hours
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RE:'07 Silverburst '84 reissue. A Review
(Date Posted:26-10-2008 17:23:30)
I love this diskussion. And no offense to you either. What i describe
is a boiled down version of what I've been explained by professionals
over the last 30 years and by reading amongst others Guitar Player.
I've never said it's defining the sound but contributing to same. It's
one of those tiny details that's fun to take into consideration when
modifying guitars as it's quite cheap compared to other mods.
A
bassplaying jam pal of mine changed his plastic pu rings to some
homemade aluminium ones instead. He's not so much into the theoretics
but we can both hear the difference. A lot for the better. More
metallic top and firm bottom.
Congratulations on your silverburst.
Good choice. That's a bloody good guitar you got there! Are you gonna
throw a Dimebucker in it?
---------------------------------------------------------------------------------------------------------------------------
It's good not have to argue on that, personally I've been involved in nasty flamewars on the net on such issues.
In the environment of the musicians you can hear ANYTHING, even the crazier ideas, a "professional" once told me not to buy a guitar straight from the box to leave it in the shiop for some months, because the vibrations of the people playing the instruments inside would have mellowed the wood and it would have played better!
On the other side, a certain Edward Van Halen insists in drilling threads, remove the rings and bolt the humbuckers straight into the body, because of the vibrations, of course!Personally, I've studied one year at DTU (you should know the place, Lyngby...) and this is what I know from a engineering point of view.
For the metal ring, once I changed the pickguard of my SG with a brass one, and I noticed a change in the sound,because of course metal reflects the vibrations of the air in a different way, I never tried a alluminium ring but personally I think a stainless steel would work better, it's more dense.
For the guitar, later I may write a complete review, but in general I agree with your observations. They had two in the shop, since march. The tag indicates that the instrument was inspected in february, and the serial number says it was produced the 11th of october. I tried both of them, the one I picked up had a much brighter sunburst, more silver...the other one was darker...interesting indeed, made me think that silverburst are made like the other traditional sunburst colours.
As I already written before, I used to like the 496/500 combo on my Les Paul Classic. On this guitar...honestly I don't know! I'm not amused, it seems that they have very little highs and the lows are...I don't know how to explain, it seems that the strings are hitting the frets...just they're not. The low strings have this "boomy" sounds, it may be because they're too new, I'll give them a chance for some time, with differen strings.
I don't like the dimebuckers, they're a bad copy of the original Bill Lawrence 500L, I've these ones, vintage, in my BC Rich and they're great, but they're cream. I may see in the future of this V a pair of Iommi, they're PUs I always admired...I don't know.
Anyway, as you said before...no kahler?No scalloped fretboard?Thou shalt not elaborate the V...
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jeffwith1f
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23#
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Rank:1967 Cherry
Score:865
Posts:693
From: Canada
Registered:22-02-2005
Time spent: 0 hours
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RE:'07 Silverburst '84 reissue. A Review
(Date Posted:26-10-2008 19:19:28)
Is it possible you are both right?
I am sure the primary vibrations that the pickup reads are from the strings vibrating in it's magnetic field, however, the pickup is mounted to tbe body, or the body via a pickup ring, and the body vibrates. if the string were completely still, but the pickup were vibrating, a tone would still be generated non?
so, it must be that the tone that comes out as signal from a magnetic pickup a combination of both the vibration of the string in the magnetic field of the pickup (primarily), but this is also coloured by the vibration of the pickup in the presense of the strting. this could and would be affected by the way that the pickup is mounted to the vibrating body of the guitar.
I don't know. maybe the body vibrations are too subtle to colour the output singnal. maybe not though.
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Mortenpmb
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24#
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Rank:1967 Cherry
Score:538
Posts:382
From: Denmark
Registered:07-02-2007
Time spent: 8755 hours
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Reply To jeffwith1f
(Date Posted:26-10-2008 22:20:46)
Reply to jeffwith1f (26-10-2008 19:19:28)
Is it possible you are both right?
Yes.
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cuthbert1978
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25#
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Rank:V90 Double
Score:50
Posts:38
From: Italy
Registered:13-10-2008
Time spent: 0 hours
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RE:'07 Silverburst '84 reissue. A Review
(Date Posted:27-10-2008 06:44:21)
(Date Posted:26-10-2008 21:19:28) Is it possible you are both right?
I am sure the primary vibrations that the pickup reads are from the strings vibrating in it's magnetic field, however, the pickup is mounted to tbe body, or the body via a pickup ring, and the body vibrates. if the string were completely still, but the pickup were vibrating, a tone would still be generated non?
so, it must be that the tone that comes out as signal from a magnetic pickup a combination of both the vibration of the string in the magnetic field of the pickup (primarily), but this is also coloured by the vibration of the pickup in the presense of the strting. this could and would be affected by the way that the pickup is mounted to the vibrating body of the guitar.
I don't know. maybe the body vibrations are too subtle to colour the output singnal. maybe not though.
--------------------------------------------------------------------------------------------------------------------------------------------------
You can easily make a experiment by yourself: take a guitar and mount a set of non-magnetic strings, for instance nylons.
If the PU vibrating generates a variation in the magnetic field you would have sound.
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rebel209
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26#
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Rank:1979 Block Inlay
Score:186
Posts:166
From: USA
Registered:21-03-2006
Time spent: 0 hours
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RE:'07 Silverburst '84 reissue. A Review
(Date Posted:27-10-2008 08:48:29)
I didn't read all the way back, but putting p/u rings on a V that has the pickups mounted on the pickguard wouldn't make any difference, the p/u is already mounted to plastic, & the ring is just an additional piece of plastic... But Vs look so much cooler w/ the rings than they do w/o the rings IMO...
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Mortenpmb
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27#
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Rank:1967 Cherry
Score:538
Posts:382
From: Denmark
Registered:07-02-2007
Time spent: 8755 hours
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Reply To cuthbert1978
(Date Posted:27-10-2008 10:16:05)
Reply to cuthbert1978 (26-10-2008 17:23:30)
I love this diskussion. And no offense to you either. What i describe is a boiled down version of what I've been explained by professionals over the last 30 years and by reading amongst others Guitar Player. I've never said it's defining the sound but contributing to same. It's one of those tiny details that's fun to take into consideration when modifying guitars as it's quite cheap compared to other mods.
A bassplaying jam pal of mine changed his plastic pu rings to some homemade aluminium ones instead. He's not so much into the theoretics but we can both hear the difference. A lot for the better. More metallic top and firm bottom.
Congratulations on your silverburst. Good choice. That's a bloody good guitar you got there! Are you gonna throw a Dimebucker in it?
---------------------------------------------------------------------------------------------------------------------------
It's good not have to argue on that, personally I've been involved in nasty flamewars on the net on such issues.
In the environment of the musicians you can hear ANYTHING, even the crazier ideas, a "professional" once told me not to buy a guitar straight from the box to leave it in the shiop for some months, because the vibrations of the people playing the instruments inside would have mellowed the wood and it would have played better!
On the other side, a certain Edward Van Halen insists in drilling threads, remove the rings and bolt the humbuckers straight into the body, because of the vibrations, of course!Personally, I've studied one year at DTU (you should know the place, Lyngby...) and this is what I know from a engineering point of view.
For the metal ring, once I changed the pickguard of my SG with a brass one, and I noticed a change in the sound,because of course metal reflects the vibrations of the air in a different way, I never tried a alluminium ring but personally I think a stainless steel would work better, it's more dense.
For the guitar, later I may write a complete review, but in general I agree with your observations. They had two in the shop, since march. The tag indicates that the instrument was inspected in february, and the serial number says it was produced the 11th of october. I tried both of them, the one I picked up had a much brighter sunburst, more silver...the other one was darker...interesting indeed, made me think that silverburst are made like the other traditional sunburst colours.
As I already written before, I used to like the 496/500 combo on my Les Paul Classic. On this guitar...honestly I don't know! I'm not amused, it seems that they have very little highs and the lows are...I don't know how to explain, it seems that the strings are hitting the frets...just they're not. The low strings have this "boomy" sounds, it may be because they're too new, I'll give them a chance for some time, with differen strings.
I don't like the dimebuckers, they're a bad copy of the original Bill Lawrence 500L, I've these ones, vintage, in my BC Rich and they're great, but they're cream. I may see in the future of this V a pair of Iommi, they're PUs I always admired...I don't know.
Anyway, as you said before...no kahler?No scalloped fretboard?Thou shalt not elaborate the V...
You could hear the difference when installing a more solid pickguard on your SG. And I can hear the difference too with my experiments + the bassplayers mod. But we have different opinions about what causes it. Brilliant. Reflections of the air around the pu? I've never heard about that before. Please do explain! If I understand you right you mean the inner surface of the pu rings has got to do with this? With that taste you have in pu's maybe SD SH-6 could be to your taste. It behaves like a nuclear power plant.
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cuthbert1978
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28#
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Rank:V90 Double
Score:50
Posts:38
From: Italy
Registered:13-10-2008
Time spent: 0 hours
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RE:'07 Silverburst '84 reissue. A Review
(Date Posted:27-10-2008 11:21:37)
You could hear the difference when installing a more solid pickguard on your SG. And I can hear the difference too with my experiments + the bassplayers mod. But we have different opinions about what causes it. Brilliant.
Reflections of the air around the pu? I've never heard about that before. Please do explain! If I understand you right you mean the inner surface of the pu rings has got to do with this?
With that taste you have in pu's maybe SD SH-6 could be to your taste. It behaves like a nuclear power plant.
----------------------------------------------------------------------------------------------------------------------------------------------
Well, as said before, the components of the guitars, being amagnetic dont' influence directly the variation of the magnetic field B-> that the pickup generates and that induces a alternate current i into the coil (same pulsation as the mechanical vibration of the string, of course), but they influence the "eco" of the vibration of the air that are reflected and sent back to the strings. The vibrations of the air are of course, the sound we perceive with our eardrums, so you can call them the "acoustic" sound of the guitar.
This is taken straight away from the course of "ljud och vibrationer" I've taken at the Danish Institute of Technology and the Royal Institute of Technology of Sweden, therefore you should trust what your professors teach to the exchange students... :)
These vibrations are are reflected act as a resonance for the original vibration of the string, that's the reason why solid body guitars were invented: to have sustain, while in a acoustic guitar the vibration of the string decays almost immediately, because this phenomenum is limited. Therefore, the vibration of the strings is influeced by the mechanical energy that comes back from teh body, fretboard and all is nearby. Of course, change of vibration of the string, change of variation of the magnetic field and change of the induced current into the magnet and trasformed in a variation of voltage, which is the exit of the PU.
The chain is as follows:
strings -> air -> guitar -> air -> strings -> magnetic field -> current -> voltage
Then it goes to the amp and we have:
voltage -> power state (amplification) ->loudspeaker -> magnet (retransform electric power in mechanic power through) -> membrane of the loudspeaker -> air -> our ears
For the discussion of the PUs, probably I didn't explain my tastes well, I'm not a fan of high power at any cost, I replaced teh ceramic PUs of my classic with a pair of '59s, then with a combo Alnico II pro/Custom Custom and finally I found a good sound for the Les Paul with a combo of cheap Toneriders Rocksong, that are Alnico II based pickup slightly overwounded (14 and 8 kohm, I think). Honestly I thought that the 496/500 worked better on a V, but at least until now it seems that they're decent for overdriven sounds but played clean they give me the impression of lacking high end, having good mids, and being a little rough of the lows, I think that they disegned them just playing the overwound card.
On the other side, for instance my vintage Bill Lawrence sound great, very mellow, clean, they have a high output but the response on ALL frequencies is remarkable. I placed the EMGs on my RR1 mainly because I hated the JB/Jazz combo, they're better, but I'm not amused. Above all, they sound very compressed like they concentrate all the output around the main frequence, with the result that I've the impression that they sound the same on every guitar.
I maybe tempted to take another pair of Bill Lawrences if I find them cheap, in this case I'd buy the ones from BL himself, that come with chromed cases that would look cool on thi V, the other choice would be to hunt down a AlnicoII pro neck because I still have the bridge (the CC is on my Jackson Soloist and I love it!)... I like Slash's tone, but on the other side I'm tempted to get something different...
For the moment, I'll leave the ceramics where they are in order to see if I can dig them, after all I just played this guitar plugged one day with my amp (a Vox AC30) and I may like them...
You...did you change them?
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Mortenpmb
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29#
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Rank:1967 Cherry
Score:538
Posts:382
From: Denmark
Registered:07-02-2007
Time spent: 8755 hours
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RE:'07 Silverburst '84 reissue. A Review
(Date Posted:27-10-2008 13:13:51)
Your professor is right. Had that part of theory in physics back in '81. Fun subject.
But the magnetic field is also moving.
The brass pickguard changes the 'acoustic' characteristics of the contruction which affects the vibrations to the points the string touches the guitar ie tail, bridge, nut & tuners. The two most important being the nut and bridge. Between the fastening points of the string there's some wood (which is a science in itself. Mahogany being the favorite here) and plastic which also vibrates although in mikrons compared to the movement of the string. The pu (magnet inducing current) is moving along with the wood vibrations. This varies depending of the fastening of the pu/voltage inducing magnet to the body.
Had a discussion with my physics teacher and he agreed that in the science you have to put all the physical conditions into the equation if it is to reflect real life.
My RI has SD '59 in bridge and some unknown Les Paul pu (which stopped sounding muddy after getting a metal ring) from the '90's in neck.
(Message edited by Mortenpmb On 27-10-2008 13:19:02)
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cuthbert1978
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30#
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Rank:V90 Double
Score:50
Posts:38
From: Italy
Registered:13-10-2008
Time spent: 0 hours
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RE:'07 Silverburst '84 reissue. A Review
(Date Posted:01-11-2008 12:38:22)
We beg to differ: the magnetic doesn't vibrate, it variates due to the vibration of the string. If both the pickup and the strings vibrate with the same frequency, you start to have feedback, because the amplitude of the oscillations sum and they self sustain.
Anyway, after a pair of weeks that the guitar is home, here there's my review, I will repeat some of Morten's observations of course, while I'll criticize others.
It seems that Gibson played two cards during the operation "Guitar of the week": one was the nostalgia of the 80s, the other the "unofficial signature models", the two '84 reissue, the Explorer and the Flying V embody these concepts. While the '84 Explorer is in short, the unofficial James Hetfield signature model, with the trademark EMGs and the white finish, for the '84 reissue probably Gibson wanted to use the term "reissue" very loosely, because the guitar resembles the pickguardless Flying Vs of the 80s , but without keeping attention to the details: in particular, the shape of the headstock doesn't recall the '84 Vs at all, being exactly the same as the standard '67 reissue, and the control lack on tone pot, not to mention that the position of the two knobs and jackplate are completely random. Of course, the control cavity is much smaller than the original '84.
Besides the look, the most significant difference between the '84 and the reissue is the wood used for the instrument: while the '84s were meant to be "cheap" guitars to face the popularity of the Charvel and Dean Vs of the '80s, therefore using maple for necks and alder for the wings, the reissue is made of solid mahogany. Later it would be explained why you can sure of that. Since the bad reputation of the original instruments among the collectors, the buyer can forgive Gibson for his "sins", expecially because in 2008 it became evident that the tooling of the '84 reissue was meant to be used for other models such as the shred and robot V.
At first analyisis, the most striking feature of the instrument is, of course, the silverburst finish, rare and long sought relic of the end of the Norlin era, when Gibson was experimenting a lot to show that they weren't fossiles of the past destined to disappear in front of the new builders. This finish was intruced at the end of 1978 for the Les Paul Custom, and remained in production until '84. Very few Vs were made in silverburst, and today their quotation compared to the standard production Vs of the same era are stellar. Besides these rare example, the Custom Shop recently built a limited run of Custom Vs in silverburst, that seemed to be priced 700$ more than the already expensive Custom Vs just for this peculiarity, therefore we can assume that this is the first Flying V with a reasonable price tag. The finish, without surprises,is exactly the same used for the other silverburst "sisters" of this V produced during the guitar of the week operation, namely the RD reissue and the Les Paul Classic Silverburst, therefore the burst is just present on the top, the back, neck and sides are perfectly black...this will disappoint many silverburst fans but on the other side, the CS silverburst are priced 3 times the Les Paul and V GOW, so this disappointment should be considered relative.
To a close inspection it emerges that the finish is really thin, a acute viewer can notice the grain of the mahogany on the silver of the top, but its quality is acceptable for a instrument tagged less 1000$. What is less acceptable is the presence on the instrument of small particles of red dust, that after a close analysis were revailed to be small chips of mahogany! It seems quite evident that the GOWs were made in a rush, even the assembly of the bridge, tailpiece and accessory seem to be quite approximative. This is interesting to notice, that in the case of this purchase, two silverbursts were present in the shop and the burst was different, one showing much more silver, while the other didn't have the burst, for instance, over the neck mounting ring and the black area on the top was dominating...this makes think that maybe the silverburst finish is applied like any other burst from Gibson or other manufacturers.
From the top of the guitar, we can notice that the headstock features two peculiarities of the '84 reissue that cannot be found in the standard production V: one is the black truss cover with the (very nice!) chrome Gibson logo, the other, more useful for the player, is the presence of a set of chrome Grover Rotomatics instead of the usual kluson clones. Of course, the superior quality of the Grovers can be appreciate during the tuning of the guitar: their smooth action and catchy sealed case doesn't make wonder while great guitarists like Jimmy Page replaces the factory klusons with these machine heads. This is the first plus of the '84 reissue over the '67.
Going down, there is the first anomaly of this instrument from a visual point of view, that seemed to be very cared by the ideators of this gutiar: the nut is nicely rolled, sharply cut, and fits the strings very well, but it's white, while the rest of the V is a orgy of silver and black. Couldn't they use a black carbon fiber nut for this instrument? It would have matched the rest of the V sharply, like the black trussrod with the chrome logo seemed to be a great touch of class...but anyway the collectors knows that knowing the ways of Gibson is to know madness.
The fretboard is a nice slab of ebony, like in the '67 white V (others have rosewood and that's the reason why people prefer the white ones), a pity that it's as dry and Elliot's wasteland...this was also noticed in others instruments by Gibson in the last years, and probably it's not a problem of shipping or handling or remaining in a shop for many months, even the machining of the surface and the beveling of the edges of the frets seems approximative, surely the quality control isn't the best on these guitars, even the striped A grade ebony is not something you would expect from Gibson, it is recommandable to oil the fingerboard once the guitar is taken, oh let's say it's the first thing to do, it helps a lot. Very nice and sharp are the perloid dots while the side ones seems to be oversizeded. Talking about oversizing, the other main feature that the player will love are the frets: large, raised and relatively rounded for the the standard of this manufacturer. We are not in the Jackson area but really on these tracks is a pleasure, it seems that at Nashville they associate the 80s with music at full speed, well, they're right.
On the body, the veneer of the wood and its oblique cut is evident through the nitro on the sides, the back seems to be relatively flat and does not suggest a multipiece construction, due to the lack of pickguard, for the look of the instrument this is very important. On the surface, there are the two black mounting rings of the 496 and 500 ceramic pickups, standard production, the switch (without the ring used on the Les Paul) and a pair of black reflector knob. The jack imput is on the top too, immediately after the volume knob. Why on this guitar (supposely a '84 reissue) weren't used the recently re-edited Dirty fingers, important feature of the original feature of the V of the '80s(ironically the dirty fingers were installed on the RD silverburst reissue, a guitar that never mounted them!), or the black speed knobs is a mistery: they wouldn't have influeced the price tag, and they would have added more sense to the name "Flying V '84 reissue", not to mention that the Dirty fingers, love them or hate them, would have given the buyer the third important feature that would have differentiate this product by the current production V.
Plugging the instrument, a great change in comparison with the '67 reissue or the V factor cannot be expected and in fact, it's basically the same tone, the difference is the good feeling the fingerboard gives, and the possibility of playing faster and louder. As already mentioned, the set up from the factory is not noticeable, it is recommended to change strings, adjust the truss rod and lower both bridge and tailpiece: the fingerboard allows low and more aggressive action for the player who needs to face the complex lead music of the 80s: Rhoads, Malmsteen, Lynch...this is probably the first Gibson that allows to play that kind of music with a factory instrument, and doesn't fear the competition of Charvels, Deans, Jacksons, Esps.
The sound of the 496/500 combo is very well known, and even in this case, it is confirmed: high output (probably higher than a Bill Lawrence L-500R/XL combo), LOW definition and the tendency of being muddy when more than a note is played. This is expecially true in the lower register of the instrument, the highs are not predominant and they work well with soloing, less with chords and in general in the situations where clarity is required. Better sound with distortion than on a clean channel, a environment where these ceramics don't perform very well. With a good valve amp, on the other side, they can offer a good early '80s distortion, but they aren't suiited for trash metal for heavier genres.
In conclusion, the best value of the Gibson Flying V '84 reissue is in its visual peculiarity, surely those who are looking for a V but they want something different can be interested in this instrument, that after all may have a future in the "vintage" market, being a limited edition of 400 guitars with these specs. For the player, it has a pair of interesting features but with a better product management it could have been something even more "special" and personal.
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