Ask Zac!

Ask Zac from the April 2005 issue of Vintage Guitar.

I have a 1983 Gibson335dot with patent-number pickups and I’m thinking of fitting a set of Gibson 57 classics. Can you tell me the differences between them? Michael McCarthy

There are many differences between the pickups you mentioned. The 57 classics differ from the 83 patent number pickups in their use of enamel-coated wire, Alnico 2 magnets, and a more vintage correct base plate and coil forms. Some players find that the 80’s era ‘patent number’ pickups don’t have the fullness and complexity of tone that the ‘57 Classic or Burst bucker series possess. With the Classic and Burst bucker series, Gibson has strove to be as true as possible to the original 1950’s designs.

I have been thinking about moving to Nashville to try and find work as a guitarist. How would I go about trying to land a position with a country artist as a road musician? Also, have you heard the new Groove Tube 12AX7M Mullard copy? If so, what do you think of them? I would like to find a first position tube that might give me a little creamier/smoother sound when overdriving with humbuckers. Kevin Gilbert

From my experiences, established bands vacant positions are filled by the recommendations of other players in the band. With a new artist, it is usually left up to the artist’s management team to put a band together. I would try to meet and play with as many players as I could. I would attend jam sessions and I would politely ask if I could “sit in” after I had gotten to know one or more of the players. And as far as pre-amp tubes are concerned, I am very encouraged to see new tubes like the 12AX7M being made. I have found it to be a great all around pre-amp tube. It is both single coil and humbucker friendly.

When describing a jumbo fret, is it the height from the fret board to the crown, the surface width, or both? Bill B.

Jumbo should only refer to the width of the fret. If a fret was both tall and wide it could be called a tall jumbo fret. If a fret were both short and wide, it would be called a jumbo shrimp fret. These can sometimes start to smell funny if left out in the sun.

This was my first column for Vintage Guitar. Thanks to VG for letting me re-print it here.

I have a three pickup Hamer Arch top Custom and I want to find out if a replacement switch is available for the stock Les Paul style pickup switch it came with. What I want is a five-way switch so I can combine pickups but I want it to look identical to the stock switch. Buck

I am sorry to say there is no one producing a 5-way switch for your type of instrument that will not change its appearance. There are options though. To help me leave no stone unturned, I looked to the Gibson Repair facilities at the Valley Arts Guitar Shop here in Nashville. I spoke with Production Manager Todd Money and wiring wizard Phil Crabtree. We looked at wiring schematics for everything from Ace Frehley’s and Peter Frampton’s signature model Les Paul Customs to Mickey Baker’s 57 Custom with 3 volumes, and master tone located where the toggle switch normally is. After looking at all of the options, the Frampton wiring scheme seems to best fit the bill. It has an ingenious wiring scheme that allows for all possible combinations of pickups without changing the appearance of the instrument. In it the 3-way selector and the top volume and tone controls only affect the two outside pickups. The bottom volume and tone pots only affect the middle pickup. This scheme allows you to blend in the third pickup as desired.

I’ve played fender electrics for most of my life and have just gotten into Gibsons. Manual string bending is a huge part of my playing. While tuning is an ongoing problem with this style, the Fenders seem to handle it better than the Gibsons. Does difference in string tension related to neck scale (25-1/2″ fender to 24-3/4″ gibson) have anything to do with the problem? Do you have any suggestions? Gregg Lee

Scale length does effect the tension the strings are under, but I am more inclined to believe you have another issue causing your tuning instability. To find your culprit, use the process of elimination. It is very unlikely that all of the strings are going out of tune. First, put on a new set of strings and get them well stretched in. Then, on the ailing strings lubricate the friction points at the nut and bridge. You can use many things from #2 pencil lead to any number of lubricants marketed to guitar players. If that solves the problem you’re done. If not take one of the tuners from the non-ailing strings and switch it out. If the string is now holding you need a new tuner.