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FIFY. Laughable that any of those waif-ey junkies in the band could heft one of those. Maybe Ronnie (or Ed King), but, just sayin’…

Got an old Charvel body and a previous owner tried to do something with it, add or change the controls and layout etc, but there are pieces that broke out at the control cavity. They can kind of Tetris back together, so I feel like it could be fixed. The wood is obviously thin there too. Is there a particular glue that's better for this than others? Not afraid to try some stuff to fix it, but I'm certainly not one of our esteemed experts here. My other idea was just to fashion a piece of pickguard over the whole spot and be done with it. Thanks.

Should've been a test on joining the band back then - Can you pick up a Peavey power amp?

Puretone makes one, never used it though. https://puretonetechnologies.com/products/pure-tone-multi-contact-1-4-barrel-jack

Many of us across the South thought those bent ears were factory features. Lol

And Chris Hall is so hot. mmm....mmmm....

The CS power amps were too. Knew plenty of guys who had dropped them or they slid out of the back of a truck onto the road and still worked just fine, but with a bent rackmount ear.

And then the following week, the video saying there's nothing like the pedal, then another week later, grifting one from somewhere and proclaiming it to BE sliced bread and actual sliced bread isn't even a contender.

Picture of Petr of Petr's Violin Shop & Guitar Central in Anchorage playing one of his old fenders.

I knew that. I should have been more careful about posting something.

I must admit that I’ve no idea re the mic discussion. SM 57s are still my vocabulary, which says a lot about where I’m at.

That's what I originally thought, but according to this, 6 "55072" puts it in the 2000 group

Yes. It is absolutely without a doubt a 1996 Standard.

They weren’t using computers for graphics in the mid 1990s. They would just order Letraset/dry transfer sheets of logos from a custom graphic shop that was typically using some physical screen print font library. It’s crazy what we take for granted now that was impossible to find 30 years ago!

The notoriously weak spot on many Hamers...

Yeah, those two additional frets aren’t really helping if you cannot reach them.

The weather was clear and cooler on Sunday morning. It was time to drive two and a half hours to Acworth, Georgia. Everything was great until traffic slowed down because of three lanes being closed on I-85 due to construction. GPS was my friend, a fake friend, but it got me around the traffic problem. Switching lanes on the new route was a bit of a challenge. I swear I did not see the cars on my right, but I think they were using the median to get around other cars. Oh, well. Everyone had brakes. I did not use mine. They had to use theirs. My arrival was shortly after the doors opened. There was no line. I paid my admission and asked where the Vintage Guitar Magazine booth was. I wanted to meet Willie G. Moseley. His tables were right at the entrance to the larger room. Most of my time there was talking guitars, newspapers, and music history with Willie. He spoke. I listened. When other people gathered around to see his display of books, magazines, and guitars it was an opportunity for me to visit the two rooms full of guitars. There were a lot of vintage Gibson and Fender guitars, but not that many of the "expensive" ones. Everything was expensive. The Atlanta Vintage Guitar Show has a warning on its web site for non-vendors coming to the show. I saw two guitars at dealer booths that were clearly identified as Chibson. One was a copy of an Ace Frehley Les Paul. The headstock image looked wrong. The rest of the guitar looked nice. Cool amps, both vintage and new brands, were on display. There was an incredibly clean Fender Deluxe that stood out to me. My credit card was left unharmed. In two large rooms of guitars I saw one B.C. Rich, absolutely no Dean, and one Hamer. Abalone Vintage Guitars had a four digit Standard bass. The owner of Abalone Vintage saw my Hamer Fan Club shirt and that started a really fun conversation about Hamer, Tom Petersson, Peter Green's Les Paul, and fake guitars and parts. He mentioned one guitar he inspected having $40,000.00 of hardware and electronics being replaced. Spotting fakes and authenticating real guitars has become hard to do without having a guitar for a long time. It cannot be done with a quick inspection anymore. After checking one room I made it back to Willie's table and talked some more. He mentioned seeing @Kerry Marchman on Saturday. He quoted Lemmy on advice. There were tales of trips to Atlanta for concerts going back to Cream at Chastain Park. In the smaller room I met Jon Kammerer. He truly loves what he doing. His enthusiasm for his designs of both acoustic and electric immediately came out. Those guitars are nice. I picked up what we have called the Peanut guitar. It plays nice. The body is not that deep, so the volume is not as loud as other acoustics. There is a pickup system installed. The sound is unique in the same way that Ovation does not sound exactly like other acoustic guitars. Jon was pointing out his bridge design on his acoustic guitars do not use traditional bridge pins. I also got to check out the floating top design. If I were to play acoustic all the time this guitar could be fun. Of course, nothing could be more fun than going back to Willie's table and talking to him when he was not discussing guitars, books, and magazines with customers. That was how I ended my day. It was worth the ride down into Georgia.

Switchcraft 151 or 152

I've tried to reach inside the barrel Jack's and pull the contacts out a bit. Worked for a while but the plugs just fall out again. I have some barrel Jack's in my parts bin, but they're not the same. Anyone know who made those blankety blank barrel jacks??

That flamey neck is gorgeous. Now you need to wear it down.

I've owned several of these over the years. They are great guitars and Gibson put amazing maple tops on all of them. Here's the big issue I had, that cutaway is not comfortable for playing up high. It looks good in the pics but it puts you hand in an uncomfortable position and I used to get cramps in my arm while gigging.

I LOVE Blackmore’s vibrato bar usage and his embracing of flash when he felt so inclined. I was surprised he didn’t use the bar or even have it on his Strat for this last time. He was such a rocker BITD. Love his playing.