Gwalker999
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GoDrex said:
do you have or have played extensively a LP versus your Warmoth ? and what have you personally found.
Why does Warmoth only offer a bolt on neck and..
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do you have or have played extensively a LP versus your Warmoth ? and what have you personally found.
GoDrex
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I never owned a Gibson LP - but I did own a Gibson V that I liked a lot at the time. It had a set neck.
I've personally found that I'm not sensitive enough to tell the difference. But like I said, the best thing to do is to not get a bolt on if this will cause you to constantly second guess your decision. It's a bad feeling to not be happy with an expensive guitar - I've been there. A Warmoth LP is not a Gibson LP, so there can be a difference. I can't tell you what that difference is tonally. Whenever you buy parts and put them together you're taking a chance. You don't get to play the instrument before you buy it. But I think if you get parts that are in line with what was used in a particular guitar (particular wood combos, pickups, hardware), then you will be getting as close as possible to what you want.
The neck/body connection on a bolt on LP is particularly tight and solid feeling (at least on my guitar - I'm sure others would agree) I think due to all the extra wood on the bass side of the neck. I've seen set neck guitars where the paint has cracked around where the neck joins the body. That tells me that there is some shift or movement going on. I don't feel that the set neck design is inherently better than bolt on. But it is part of the Les Paul design so it is a part of the whole that creates the sound.
I've personally found that I'm not sensitive enough to tell the difference. But like I said, the best thing to do is to not get a bolt on if this will cause you to constantly second guess your decision. It's a bad feeling to not be happy with an expensive guitar - I've been there. A Warmoth LP is not a Gibson LP, so there can be a difference. I can't tell you what that difference is tonally. Whenever you buy parts and put them together you're taking a chance. You don't get to play the instrument before you buy it. But I think if you get parts that are in line with what was used in a particular guitar (particular wood combos, pickups, hardware), then you will be getting as close as possible to what you want.
The neck/body connection on a bolt on LP is particularly tight and solid feeling (at least on my guitar - I'm sure others would agree) I think due to all the extra wood on the bass side of the neck. I've seen set neck guitars where the paint has cracked around where the neck joins the body. That tells me that there is some shift or movement going on. I don't feel that the set neck design is inherently better than bolt on. But it is part of the Les Paul design so it is a part of the whole that creates the sound.
Gwalker999
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I wonder if not getting a maple top on the body would relive some of the highs and even it out to compensate for the scale and neck type
Gwalker999
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nathana said:
I dont trust Gibson and its overpriced I read this interview the other day and it was very interesting--I tend to believe him,,, http://www.dinosaurrockguitar.com/new/node/240 very interesting read
GoDrex
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Gwalker999 said:
Well I can tell you that my all mahogany and chambered LP is kind of dark. I do kind of wish I went with a maple cap sometime though I'm sure how much difference it would make. BUT - pickups make a huge difference. I though the SD Custom sounded muddy in my guitar so I've been trying other things in the bridge. I'm testing out a SD '59 and it's is BRIGHT. Sounds great actually. The Custom 5 is like the perfect pickup in my guitar. I'm eventually going to try a hybrid of those two pickups.
riverbluff
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I have a Gibson LP and a Warmoth LP. Both are great guitars. I really don't think I would get rid of either one. I have notice no less sustain in my warmoth compared to my gibson. Tone is different on both, but that is what I wanted. Both have great tone, just depends on what you're playing at the time. I do like the neck on my warmoth better though.
I wouldn't let the fact of a bolt on neck scare you away from building a great guitar.
Just my 2 cents worth.
V/R
Bill
I wouldn't let the fact of a bolt on neck scare you away from building a great guitar.
Just my 2 cents worth.
V/R
Bill
riverbluff
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Gwalker999 said:
Gibson LP have a Maple top (well most do). Aslo, if you get a warmoth, just get the 24.75 converson scale neck. Exact same scale as gibson.
As a comparison on 2 very similar guitars...
My Gibson is Mahogany/maple body with Mahogany/ebony neck. I have EMG 81/85 pick ups installed.
I built my son a warmoth LP with Mahogany/maple body and Maple/rosewood neck (24.75 scale), with EMG 81/85 installed.
These guitars sound almost identical.
Funky Phil
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(quote)I dont trust Gibson and its overpriced I read this interview the other day and it was very interesting--I tend to believe him,,, http://www.dinosaurrockguitar.com/new/node/240 very interesting read
I would agree with about 90% of that article.
I worked in a store (in the UK) which sold Gibsons, for about 13 years (!)
Out of a delivery of 10 guitars, I would often return 3 or so, as being beyond hope.
I would then have to dress the frets of all the rest and set them up.
(In fact, I must thank Gibson for the chance to become so experienced at dressing frets!)
In the article, Mr X mentions that GIbsons tend to intonate sharp above the 15th fret.
This is indeed the case...they use two scale lengths on the same guitar!
(One from nut to 12th fret, a longer one above that...INSANE!)
I would agree with about 90% of that article.
I worked in a store (in the UK) which sold Gibsons, for about 13 years (!)
Out of a delivery of 10 guitars, I would often return 3 or so, as being beyond hope.
I would then have to dress the frets of all the rest and set them up.
(In fact, I must thank Gibson for the chance to become so experienced at dressing frets!)
In the article, Mr X mentions that GIbsons tend to intonate sharp above the 15th fret.
This is indeed the case...they use two scale lengths on the same guitar!
(One from nut to 12th fret, a longer one above that...INSANE!)
GoDrex
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Gwalker999 said:
that is an interesting read - and to be honest I probably don't have a good enough ear to tell if my guitar is one of the "good ones" I do feel that it's pretty balanced tonally. Perhaps a tad muddy on the bass side, but very clear above that. I think it sounds good unplugged. It's certainly good for what I need it for. My LP is chambered, btw. I'm surprised they didn't talk about that in the interview (the fact that gibson uses different methods to relieve weight).
edit - I'm playing my LP now, unplugged and it is loud. I remember my Warmoth star that I had built 18 years ago was also very loud unplugged - more than any guitar I ever tried. That was a light basswood body.
Gwalker999
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GoDrex said:
they dont have it in 1 3/4 :dontknow:
Gwalker999
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GoDrex said:
I made the mistake of trying my friends Agile wide 1 3/4 LP it was very nice to my fat fingers .. I just measured my largest finger contact area it its like 12-13 MM I can tell a difference, believe it or not between the two nut sizes
Might as well add my two cents. I've owned a couple of Les Pauls, including one that I really loved (an early 80s black beauty) and a studio from the early 90s. Now I have a Warmoth LP which I prefer in every way. No, they don't sound the same - my LP has different pickups and an all-rosewood neck. But all of the Les Paul 'goodness' is totally there, the sustain, the warm rich tone, the feel. Plus the frets are great, the acoustic sound is great, it stays in tune, it's unique, it cost less than a new Les Paul studio, and I love it.
As far as neck width, 1/16th" makes a real noticeable difference. 1 3/4 is the standard width for finger style acoustics, really helps you avoid accidental muting of open strings while retaining a steel string guitar feel. But to the OP: If you get a 1 11/16 neck and have a good shop cut you a custom nut with the strings spaced as widely as possible, you might get close enough to 1 3/4. Most nuts could probably have the strings a bit further towards the edges if you're after maximum space for fingertips and are not too concerned with 'slipping off'.
As far as neck width, 1/16th" makes a real noticeable difference. 1 3/4 is the standard width for finger style acoustics, really helps you avoid accidental muting of open strings while retaining a steel string guitar feel. But to the OP: If you get a 1 11/16 neck and have a good shop cut you a custom nut with the strings spaced as widely as possible, you might get close enough to 1 3/4. Most nuts could probably have the strings a bit further towards the edges if you're after maximum space for fingertips and are not too concerned with 'slipping off'.
elgravos
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There I was playing my Warmoth strat and now reading all this made has made me switch my my les paul. I like to think it's one of the "good ones"... works for me at any rate though I had to wait over a year for the nitro to really "cure" in before I could really start digging it. I hate that sticky feeling you get with new gibsons.
Going back to the original subject matter I would venture that it's really all about the scale length. If you stick to the Gibson LP format: mahogany body / maple cap with mahogany gibson scale neck and 2 PAFs, then you probably won't really notice a difference between a bolt on v. glued in neck and the end result will sound very much like the real McCoy. On the other hand, if you go for a long scale version then all bets are off. Though again, the difference will not have that much to do with the fact that it's bolt on.
Going back to the original subject matter I would venture that it's really all about the scale length. If you stick to the Gibson LP format: mahogany body / maple cap with mahogany gibson scale neck and 2 PAFs, then you probably won't really notice a difference between a bolt on v. glued in neck and the end result will sound very much like the real McCoy. On the other hand, if you go for a long scale version then all bets are off. Though again, the difference will not have that much to do with the fact that it's bolt on.
Gwalker999
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tfarny said:
interesting have you heard of this being done or have done it yourself? and do you know of such shop?
Gwalker999
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GoDrex said:
reading that interview clicked me on to a few things that I have noticed about Gibsons I have played in the past or heard played live. 1st being that the "good ones" to my ear have been the lighter ones. And 2nd there was no correlation between how expensive the model actually was either a cheap Studio or a Custom sig series ...which brings me to my next question how heavy are the warmoth standard LP builds on average?
You can specify lighter mahogany, if you need to. :icon_thumright:
And here's the showcase LP's sorted by weight. Doesn't look too bad to me
http://www.warmoth.com/Pages/ClassicShowcase.aspx?Body=2&Shape=3&Path=Body,LP&sort=weight
EDIT: Here's only the solid ones:
http://www.warmoth.com/Pages/ClassicShowcase.aspx?&Body=2&Shape=3&Path=Body,LP&hollow=446
Still seems reasonable, I think.
And here's the showcase LP's sorted by weight. Doesn't look too bad to me
http://www.warmoth.com/Pages/ClassicShowcase.aspx?Body=2&Shape=3&Path=Body,LP&sort=weight
EDIT: Here's only the solid ones:
http://www.warmoth.com/Pages/ClassicShowcase.aspx?&Body=2&Shape=3&Path=Body,LP&hollow=446
Still seems reasonable, I think.
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