I see plenty of Gibsons that have been factory dressed with a plek and still had issues. Plek reads the neck and then you need to use the data to decide what you want it to do . Gibson just use it to dress the frets to a standard setting totally wasting most of it's capabilities. They don't even read the flex on a neck by neck basis . Plek is the best of the best but it still needs a good operator that actually understands what to do with it . A bit like getting your cat to use your laptop won't result in good workflow however good your laptop is.
Gibson's 17 degrees is that more or less.
My cats have always gotten their workflows down with the laptop.
FWIW, mine doesn't buzz. Maybe I got lucky; maybe it's because I like a slightly higher action. When I play my ridiculous boomer bends, I want my finger to catch the next string over, mute it, and push it out of the way without fretting it. I have it just high enough to do that. It's probably "too high" for super fast sweeps on the top handful of frets....but I don't do that, so I don't care.
I used to play with action set just like you described, but as I've tried to raise my personal bar, it's become a problem. On my 1st Majesty, I instantly raised the action so I could bend strings by pushing the adjacent string out of the way like you described, but then I figured, other players don't seem to have to do this, so there must be something in my technique that I can change, so I lowered it back down.
There are a lot of players who do that. It also depends on the guitar, at least some. My PRS can easily get away with a lower action. Maybe it has something to do with the frets being bigger. IDK. FWIW, I came to that number (90/1000) by adjusting to feel and then measuring. I did set the PRS up to match it and generally like it, but the "feel" adjustment on the PRS wound up a good bit lower, and it's honestly fine either way.I used to play with action set just like you described, but as I've tried to raise my personal bar, it's become a problem. On my 1st Majesty, I instantly raised the action so I could bend strings by pushing the adjacent string out of the way like you described, but then I figured, other players don't seem to have to do this, so there must be something in my technique that I can change, so I lowered it back down.
The 20th anniversary in my pic arrived with very low action, and alas, I found that it really wasn't an issue, if I was a bit more conscientious about my bends. But I still get that occasional awful-sounding dissonance when that adjacent string suddenly slips off my finger. I think I've figured out there's this certain height that you don't want your strings: You either have them high enough to "push" the adjacent string, or low enough that it can't slip under your finger. I'm still playing with it though.
No, not really.
Your Vasoline trick made me remember to always hit the nut slots with Nut Sauce (and if I had read your idea earlier, I wouldn't have even bothered buying it), and now that I put a dab onto the saddle rollers as well, my floating trem stays in tune, even if I'm aggressive with it. Seems to me just having that bit of "grease" on the strings at their contact points makes a world of difference.What am I doing wrong with my Gibsons that I never having tuning issues? Help!!!
Yeah, I wouldn't use that string butler. It's expensive, and ugly AF. If it has tuning issues, the root cause needs to be fixed. Starts with the nut......
^^This. Ever since I started doing this with every string change, my guitars stay in tune, other than minor temp changes.
The issue it solves is if the nut slots are cut straight by someone who has never seen a gibson headstock before. No matter how much lube you put in the slots, the strings will bend all at once at the front edge of the nut (closest to the headstock) as opposed to bending with a much greater radius if the D and G string slots are very slightly curved....which is how Martin does it with just about as drastic of angles coming off the nut.
