Then tomorow it's time to do a ROADTRIP and pick it up!
Right onThen tomorow it's time to do a ROADTRIP and pick it up!
Not really much difference in sound. Less feedback. A 335 is a solid body in theory.
Yeha, I found this comment online from someone that says he worked on Gibson in that era:
I used to play 335's almost exclusively and especially those from that 81-89 era. They all had some mojo because Tim Shaw a few other employees were trying to bring back the 335 '58/59 model. Many of these were spec to a 59 reissue so they are fantastic guitars. But in my opinion the better of them are the 81-87 335 dot, then the 81 "pro" (which is a dot but has a maple neck, larger headstock and dirty fingers (uncovered) pickups. The pros are really unique, but I always replaced the DFs with SD Antiquities. In 88 they started to change a bit, but they were still good and even into the 90s to be honest. The earlier 80s models can be found with Shaw pickups but many beyond that go to regular stamped Gibson humbuckers which are the precursor to the 57 classic. Much to disappoint people, the Shaw pickups from that era are not ALWAYS great sounding and especially in the bridge position but they were ok, mostly. 335's in general can be bright, much to the misconception they are a "jazz" guitar, so with the shaws they could be to bright. 57 classics are bright as well. The antiquities worked the best in this era and the most best (is that a term) in the pro model. The red pro model is a unique guitar that looks just like a dot, has a really different neck profile but a cool one as well. The dirty fingers pickups were just too hot for that guitar and would make the thing squeal. Any of those are the "best" choice from that era. The studio model from the same era is also really good and in fact maybe better than the current custom shop model. The model you posted could have some issues. Being black is a slippery slope, because that is the color they got refinished - many times. This one may not be with the checking and add of the Bigsby, but with the headstock repair - which was kind of sloppy at best - I would pop the pickups to see what is going on there. Depending on the price of this guitar, there are better options from that time period, unless you really want this one - but I would plan to sink 500-1000 in it to make it bullet proof.
Thanks for the info, I'll check it out in person today.. BTW the guy is asking just $500 for it
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For 500, barring any real neck issues - like a cracked neck, falling off (other than the head stock repair) I would take it. I would also plan to redo the repair (400-500), replace the pickups (but they may be ok) (200-300) and other minor things (set up/frets - could be 200 could 500 lol) - if the finish is original leave it. So budget 1000 at least and you are at 1500 or more. You are about the same away from a dot - so not bad. Or you could buy a sire larry carlton and save yourself any repair lol. They are fantastic.Thanks for
Thanks for the info, I'll check it out in person today.. BTW the guy is asking just $500 for it
They are worth more than the price if you like the 335 model. I would not get a Gibson instead of a Sire for sure as to why Larry went with them. Kyle makes a great guitar and they are awesome. The only thing about them I don't like is the nut width is based on Larry's 68/69 335 which is the Gibson 9/16 (some in that era are .625 -10/16, 5/8). More mid 60s Fenderish or Musicman like. I point it out because most electric guitars are either or closer to 11/16. It makes a difference - but it is a thing. The guitars I have had in the studio are equal or better to anything 335 I have played.
That's just somebody played it with grimy/sweaty hands.
You could be right but with these pics it's hard to say. The lack of a decent close up of the headstock face is suspicious . Also the splits at the machine head screws is usually only part of a head break event . I wouldn't recommend it but you could screw those screws in to mahogany without a pilot hole and you would not split it.
