Best upgrade pots for Gibson LP

[LeadedEL84]

I'm pretty happy with my Les Paul studio. I like the 490R and 498T pickups a lot. I like some of Gibsons other pickups too,particularly the classic 57s but also a few of the burstbucker types. I find it hard to pick a favorite because they all do certain things well and it really depends on what you play and what sound your going for as to what works best. I find my 498 and 490 give me the classic LP standard rock tone but are versatile enough for a good blues tone as well. I like that the sound is very fat while at the same time has enough treble and articulation for good note seperation. My LP does that better than any humbucker guitar I've had before.
Something I am starting to notice though is that the usable range on my volume and tone knobs is pretty limited. If I want to roll off a little top end using the tone knobs the usable range is really narrow. It seems I have to keep them between 8 and 10. If you go to 7 or below the trebble just drops off drasticly. It goes from bright to mud real fast. I would like a more gradual slope. On the volume pots it is a similar experience but not as extreme. Even my less expensive Dean Evo Special has more usable range on the volume and tone pots. Both guitars are bone stock. I have played other Gibson LPs with the same pickup combo as mine that didn't have this problem or at least was not as noticable.
I know alot of you guys have changed out the pots on your LPs,LP copies and other humbucker guitars. So I need your advice on what to get to achieve the results I am looking for. I'm not looking for a drastic change in sound. I just want more range on the knobs and less mud. I know there are a few good choices out there in pots. I am hoping not to spend big bucks. So what are some good reasonably priced pots that will be an upgrade? Any other changes I need to consider as well?

 

[otaypanky]

What are you using for a cable, and do you go straight in to your amp?
I realize you said you got a little better results from your other guitar, but if I were you I would begin by trying a high quality low impedance cable. That made such a huge difference for my ears I was surprised. I was able to retain more clarity at less than full volume on the guitar pots while previously using Monster cables it went to mud as you are describing. If you are already using a good low impedance cable I have had great results with both WCR and RS Guitarworks wiring kits. I have mine wired 50's style instead of modern ~
You can Google the differences of the wiring

 

[Eric]

What are you using for a cable, and do you go straight in to your amp?
I realize you said you got a little better results from your other guitar, but if I were you I would begin by trying a high quality low impedance cable. That made such a huge difference for my ears I was surprised. I was able to retain more clarity at less than full volume on the guitar pots while previously using Monster cables it went to mud as you are describing. If you are already using a good low impedance cable I have had great results with both WCR and RS Guitarworks wiring kits. I have mine wired 50's style instead of modern ~
You can Google the differences of the wiring

Just out of curiosity, do you maybe mean either capacitance or maybe resistance? I'm no electronics expert, but I didn't think impedance would apply to a guitar cable...

Again, just curious and trying to figure out what you mean.

 

[ZMAN]

I recently did the swap on my Les Paul Classic Goldtop. It had the stock ceramic open coil pickups and I went to a set of BB1 and BB2s out of a Historic GT. The guy bought a set of Lollars for it, and I bought the BBs from him.
I also went for the RS guitarworks Kit. I went with the Vintage kit that comes with the .022 caps, for both neck and bridge.
The only thing I would say in caution is to make sure you follow the wiring diargram and place all the volume and tone controls in the specific locations marked on each. I talked to one of the owners of RS guitarsworks and they have engineered them for a specific role, and they really do work.
As far as control goes they do what a potentionmeter is supposed to do. A gradual increase or decrease in the volume or tone. They are not like an "on off" switch that you get with the stock set up.
The beauty of this kit is that you just pull the whole original wiring including the plate and mount them directly to the guitar. I kept the old wiring intact and saved it with the pickups. OH and you can get prewired kits as well.
I am more than pleased and my guitar tech who owns two of the Classic GTs like mine was totally blown away by the difference with the complete wiring change including the pickups.
Think Joe Bonamassa tone all day long.
I am also a big fan of the 490, 498 combo and I have them in two of my other LPS with the stock wiring. I am sure some day I might throw a kit in each one, it would surely make them come alive.
I also had a 2008 Studio in Fireburst and loved that guitar as it was. I recently traded it for a 2008 DSL 100 Marshall amp. The guy WANTED my guitar. I paid 1099 new for the guitar he paid 1799 for the amp. The trade even was a no brainer for me, and I have still have 4 LPS now.
So I guess I would highly recommend the RS guitar works vintage kit.
If you check out their site you can get different sets according to your playing preferences, with different cap values.
Worth every nickle of the money and very prompt shipping.

 

[LeadedEL84]

Thanks for the reply

What are you using for a cable, and do you go straight in to your amp?
I realize you said you got a little better results from your other guitar, but if I were you I would begin by trying a high quality low impedance cable. That made such a huge difference for my ears I was surprised. I was able to retain more clarity at less than full volume on the guitar pots while previously using Monster cables it went to mud as you are describing. If you are already using a good low impedance cable I have had great results with both WCR and RS Guitarworks wiring kits. I have mine wired 50's style instead of modern ~
You can Google the differences of the wiring

I usually plug directly into the amp when I play through my V series 3112. I almost always plug into my Marshall Guv'Nor 2 when I play through my V5 practice amp. Those are the configurations I used to compare the two guitars. Of course with the 30 watter cranked up the muddiness problem is alot less noticable with either guitar. To the other extreme: With the practice amp at low volumes,going through a pedal the muddiness is the most noticable. But of course I have taken all that into account. I made sure I eliminated all the variables when comparing the two guitars. I don't expect as much out of the practice rig as I do from the big amp.
I have a good selection of cables in various lengths and brands which I have done comparisons. I used to have a long Horizon cable that sounded muddy and midrangy. I gave that one away. LOL. I have a box of no-name cheapos in shorter lengths that I keep on hand for patch cables and such but I am not using any of those right now. I have a twead wrapped musicians Gear cable I keep in my strat case that sounds good. It is what replaced that crappy horizon cable.
As far as the cables I am using on my rigs right now: Practice rig- Guitar > 15' Quantum Audio designs, Gig lines,GL2000 > Marshall pedal > 6' Quantum GL2001 > Crate V5

Big rig- Guitar > 15'(Might be 18) Whirlwind cable > Crate (USA) V-Series 3112

The cables I am currently using all seem to be good. They are definatly the best I have and have been compared to lesser cables I've used in the past.
I get some pretty good tone from all my guitars when plugged directly into my V-30 when it's cranked. I just think there is more to be had from the Les Paul.

 

[markb]

Just out of curiosity, do you maybe mean either capacitance or maybe resistance? I'm no electronics expert, but I didn't think impedance would apply to a guitar cable...

Again, just curious and trying to figure out what you mean.

Capacitance is the relevant thing here. Just as adding a capacitor to a pot makes it a tone control, treble is bled off as more current is fed into the capacitor, so the capacitance of a cable is what sucks top end. The very construction of a shielded cable is what makes it a capacitor. Cable resistance (oxygen free copper) is practically irrelevant in guitar terms because of the tiny current involved and the very high impedance of the amp input.

 

[Eric]

Capacitance is the relevant thing here. Just as adding a capacitor to a pot makes it a tone control, treble is bled off as more current is fed into the capacitor, so the capacitance of a cable is what sucks top end. The very construction of a shielded cable is what makes it a capacitor. Cable resistance (oxygen free copper) is practically irrelevant in guitar terms because of the tiny current involved and the very high impedance of the amp input.

Right right. When you're running at 200 ohms (or whatever line level is), an extra 2 ohms doesn't factor in much...I think I read that somewhere. Not sure what you mean about the shielded construction making it a capacitor though.

I was just trying to figure out what otay meant so I could try to figure out how it related. I didn't see a direct link with impedance.

 

[LeadedEL84]

I recently did the swap on my Les Paul Classic Goldtop. It had the stock ceramic open coil pickups and I went to a set of BB1 and BB2s out of a Historic GT. The guy bought a set of Lollars for it, and I bought the BBs from him.
I also went for the RS guitarworks Kit. I went with the Vintage kit that comes with the .022 caps, for both neck and bridge.
The only thing I would say in caution is to make sure you follow the wiring diargram and place all the volume and tone controls in the specific locations marked on each. I talked to one of the owners of RS guitarsworks and they have engineered them for a specific role, and they really do work.
As far as control goes they do what a potentionmeter is supposed to do. A gradual increase or decrease in the volume or tone. They are not like an "on off" switch that you get with the stock set up.
The beauty of this kit is that you just pull the whole original wiring including the plate and mount them directly to the guitar. I kept the old wiring intact and saved it with the pickups. OH and you can get prewired kits as well.
I am more than pleased and my guitar tech who owns two of the Classic GTs like mine was totally blown away by the difference with the complete wiring change including the pickups.
Think Joe Bonamassa tone all day long.
I am also a big fan of the 490, 498 combo and I have them in two of my other LPS with the stock wiring. I am sure some day I might throw a kit in each one, it would surely make them come alive.
I also had a 2008 Studio in Fireburst and loved that guitar as it was. I recently traded it for a 2008 DSL 100 Marshall amp. The guy WANTED my guitar. I paid 1099 new for the guitar he paid 1799 for the amp. The trade even was a no brainer for me, and I have still have 4 LPS now.
So I guess I would highly recommend the RS guitar works vintage kit.
If you check out their site you can get different sets according to your playing preferences, with different cap values.
Worth every nickle of the money and very prompt shipping.

ZMAN, your speaking my langauge! That gradual control is exactly what I am looking for. Your description of the stock setup being compared to an on /off switch is funny but it's exactly the way I feel about it.
Bonamassa is the exact example of what I have in mind. I love it when he rolls down his volume knob and it stays crisp and detailed. Of course there are alot of things in his chain that promote that low volume touch sensitivity but his guitar is definately part of it. I have plugged many different guitars into my V-30 and I am sure it is capable. I will look into these wiring kits for sure. I will have to do more research and get more advice on what kit and cap values I need for my pickup combo.
Ya know,20 years ago (or even 10) I would have been thrilled to death with my LP and it would have been a flawless guitar to me. It's not really the case that I am more picky now,but my ear has developed and my playing style has changed. Back then I ran all the guitar controls on 10 all the time and changed sounds with the amp or pedals. Since then I have learned sutblty and how to use the guitar controls for tone shaping.
That is some deal you got on the amp. You are a good horse trader. I envy your collection of Les Pauls.

 

[ZMAN]

Yes I really am surprised that a guitar worth 2000+ performs like they do pot wise. This is obviously why companies like RS exist. I am a big fan of the Studio Les Paul. I have owned one and my friend has a 1989 that is the sweetest sounding guitar I have ever heard. The 490 combo is probably the best I have heard and I really don't know why people swap them out. I am sure if you put a nice RS kit in your Studio you would never want another guitar.
The other two 490 equipped quitars I own are both true solid bodies at about 9.5 lbs. They have a much more mellow tone. My studio and my Classic were both chambered. I really fell in love with the tone from the 490 set and the chambered body. My Ceramics hurt my ears in my Classic, but the BBs are perfect. I will probably get another chambered Studio, but my quest for JB tone drove me to a Marshall DSL, and with my DD20 and my Classic I am there. My playing is not but my tone is.
The other issue I have to worry about is that what I am hearing is tainted a little because of my aging and hearing loss. But hey I only play for myself and it sounds good to me. LOL
The cream of my collection is my ES335 in Ebony, it is a 1990 and that guitar has some sweet PAF tone I will never touch that one.

 

[LeadedEL84]

Yes I really am surprised that a guitar worth 2000+ performs like they do pot wise. This is obviously why companies like RS exist. I am a big fan of the Studio Les Paul. I have owned one and my friend has a 1989 that is the sweetest sounding guitar I have ever heard. The 490 combo is probably the best I have heard and I really don't know why people swap them out. I am sure if you put a nice RS kit in your Studio you would never want another guitar.
The other two 490 equipped quitars I own are both true solid bodies at about 9.5 lbs. They have a much more mellow tone. My studio and my Classic were both chambered. I really fell in love with the tone from the 490 set and the chambered body. My Ceramics hurt my ears in my Classic, but the BBs are perfect. I will probably get another chambered Studio, but my quest for JB tone drove me to a Marshall DSL, and with my DD20 and my Classic I am there. My playing is not but my tone is.
The other issue I have to worry about is that what I am hearing is tainted a little because of my aging and hearing loss. But hey I only play for myself and it sounds good to me. LOL
The cream of my collection is my ES335 in Ebony, it is a 1990 and that guitar has some sweet PAF tone I will never touch that one.

I have been a fan of the studio for a while too. I wasn't as much of a fan of them back when they had the ebony fretboards and dot inlays. A friend of mine had one back in the late 80s. He bought it new but I think it had been in the shop for a while. If I remember right it was a 1987 or '86. He got a deal on it. It was a nice guitar but I thought the pickups sounded a little dark and weak. He had alot of wiring and switch problems with it over the years. It turned out to be kind of a lemon in that regard but structurally and hardware wise it was built like a tank . I started liking them when they did the redesign and gave them rosewood boards with the trapazoid inlays. Mainly because I prefer rosewood. The studio is the right model for me because I like the combination of features they offer. I like the neck profile,the rosewood board,the maple top,and the pickups. Also with my income level and the fact that I am not giging in a band,I just can't justify spending $2500 + for a higher end model. I don't mind the absence of binding or figuring on the maple top. The no frills looks suit me. My main concerns are playabilty and tone. I bought mine used for a real good price and if it were not for some minor swirl scratches in the paint I would call it "like new". With the money I saved buying this used I don't mind putting a little into it to sweeten or refine the tone. It is worth it. I plan to play this one for a long time.
I'm not surprised some people might prefer other pickups over the 490s because tone is such a subjective thing. Depends on what you are playing and what sound you want. I just wonder how many people overlook the 490 and 498 because they are not the latest and greatest thing on the market or are not promoted like some of the current specialty and niche pickups.I just don't meet many people who say they prefer these pickups except for a few who have older LPs that came with them. To my ear they give me the classic Gibson tone I was after when I decided to buy a Les Paul. Fat,creamy blues tone to powerful,screaming rock tone-it's all in there.
I recently found out my studio is a 2005 thanks to a link I found here on one of the older threads. I think that puts it in the time period of being weight relieved but not chambered. It's the heaviest guitar I own but not nearly as heavy as my friend/cousins Standard traditional. That is one sweet LP and I was with him the day he bought it at GC. He spent weeks visiting shops and trying different LPs until he narrowed it down to three. Two were at GC. One was a new standard with the chambered body,asymetrical neck profile,and burst buckers(BB pros if I remember correctly). It was cherry sunburst. The one he chose ultimately was the iced tea burst traditional with 57s in it. We were there hours playing LPs in different models and colors until he found the one.I voted for it and it is one of the prettiest and sweetest vintage sounding LPs I've put my hands on. Amazing guitar bone stock.
Something else I will never forget about that day. I spent a little time researching for myself too. I tried some satin finish SGs and studio LPs and some Epi LPs. I knew my next was going to be a Les Paul no matter how long I had to save for it. We were at the checkout for quite a while because the sales guy had some things to work out with the MGR with discounts and extras because of the promo/sale they had that week. I spent my time looking at the gloss finished LP studios that were next to us. I was trying to decide what color and hardware combination I liked the best. I wanted one of each and the honeyburst standard hanging on the wall. LOL. On the way out I pointed to the wine red studio with chrome hardware and told my cousin that it was the one I was going to get because it was the one for me and had everything I wanted. Needless to say he was not too impressed because of what he was walking out with. He asked when I was going to get it and I told him within the next year. Well just under a year later I bought an identical wine red and chrome hardware studio. Since his honeymoon is over with his traditional he sees my studio for what it is. He thinks my LP gets a better Page tone than his and he is completely envious of the Zakk Wylde type screaming harmonics it gets with high gain. He is in a band that does a wide range of music. I wouldn't be surprised if he added a studio to his collection someday.

 

[otaypanky]

Thanks Eric ~~~

brain fart :thwap
capacitance

Just out of curiosity, do you maybe mean either capacitance or maybe resistance? I'm no electronics expert, but I didn't think impedance would apply to a guitar cable...

Again, just curious and trying to figure out what you mean.

 

[otaypanky]

Zman, did you wire it to the 50's style? I'm guessing yes since it was the vintage style kit.
If you get the the same results I do that's something else I wanted to mention to Leaded EL84. When I'm at less than 10 on my guitar volume, say maybe 6 or so, I actually get my cleanest tone when I also roll the tone pot for that pickup down as well. The tone pot adds not only treble but gain as well.
When I am using a smaller wattage amp and want cleaner tone with my guitar volume down, I will often really crank up the volume on the amp. That doesn't mean I necessarily play it loud, you don't have to turn your guitar to 10 to get great tone and some break up. But it does allow me to get cleaner rhythm and low volume tones than I could if I had the amp turned down.

Try dialing in your amp so that you get the best possible tone when all your guitar pots are on 10, set your amp so that you get the best tone at partial guitar volume and the tone pots down a few notches too. Then when you turn up, you may be a bit bright, but you can always compensate for that by rolling your tone pots down a bit.

 

[LeadedEL84]

Zman, did you wire it to the 50's style? I'm guessing yes since it was the vintage style kit.
If you get the the same results I do that's something else I wanted to mention to Leaded EL84. When I'm at less than 10 on my guitar volume, say maybe 6 or so, I actually get my cleanest tone when I also roll the tone pot for that pickup down as well. The tone pot adds not only treble but gain as well.
When I am using a smaller wattage amp and want cleaner tone with my guitar volume down, I will often really crank up the volume on the amp. That doesn't mean I necessarily play it loud, you don't have to turn your guitar to 10 to get great tone and some break up. But it does allow me to get cleaner rhythm and low volume tones than I could if I had the amp turned down.

Try dialing in your amp so that you get the best possible tone when all your guitar pots are on 10, set your amp so that you get the best tone at partial guitar volume and the tone pots down a few notches too. Then when you turn up, you may be a bit bright, but you can always compensate for that by rolling your tone pots down a bit.

Actually that is a technique I have been using for a couple years now. Before I got my LP my main axe was my Dean EVO special. When running into my v-30 I always add a little more gain than I need and roll back the volume to 7 or 8 to put it where I want it gain wise. I also add a little more treble on the amp than I need and roll the tone pot back until it takes the edge off. I actually learned that technique on my strat. The idea was to have that extra gain available for solos and that extra treble to cut through the mix when jamming with a full band in those instances when you get lost in the mix or the mix gets muddy in a bad room. I always like to give myself a little room on the volume and tone that way. I rarely have anything pegged on 10 anymore. That is how I discovered the mud problem on my Les Paul and that is why I want more room on my pots for dialing in tones. When playing this compensation game with my LP I just don't have the usable room on the pots before getting into the mud. It drops off too quick. Adding more trebble when I am in the muddy zone or more gain doesn't have the desired effect I want. It may brighten it up but it does not restore the feel or touch sensitivity. Also it makes the top of the range(9 or 10 on the pots) unusable because there is too much gain or treble. You are talking about compensating for one spot in the range. What I need is wider usable range from a more gradual slope and flatter curve. See what I am saying? If overcompensating with gain or treble at 6 or 7 on the knobs to get the desired tone and feel makes 9 and 10 unusable why do it? It just moved my desired tone farther down in the tone and volume settings on the guitar. It has done nothing but narrow my range even more because 9 and 10 have too much gain and treble and are now unusable. It's all about the curve and the dropoff point on the slope.
I hope this makes sense to you guys because I find it difficult to explain. LOL

 

[otaypanky]

'Sounds like it's time for some soldering ~

 

[ZMAN]

Zman, did you wire it to the 50's style? I'm guessing yes since it was the vintage style kit.
If you get the the same results I do that's something else I wanted to mention to Leaded EL84. When I'm at less than 10 on my guitar volume, say maybe 6 or so, I actually get my cleanest tone when I also roll the tone pot for that pickup down as well. The tone pot adds not only treble but gain as well.
When I am using a smaller wattage amp and want cleaner tone with my guitar volume down, I will often really crank up the volume on the amp. That doesn't mean I necessarily play it loud, you don't have to turn your guitar to 10 to get great tone and some break up. But it does allow me to get cleaner rhythm and low volume tones than I could if I had the amp turned down.

Try dialing in your amp so that you get the best possible tone when all your guitar pots are on 10, set your amp so that you get the best tone at partial guitar volume and the tone pots down a few notches too. Then when you turn up, you may be a bit bright, but you can always compensate for that by rolling your tone pots down a bit.

I think we had this dicussion at the time I did the swap. I had some issues with the original way my tech did the swap. I am pretty sure it is 50s style.
It is wired exactly as it appears on their wiring diagram that came with the Vintage Kit.
This was the first actual upgrade I have done after owning over 25 Electrics, and I must say I was more than pleased with the outcome.

 

[BigJD]

I like putting a 1meg pot in for volume on all my gibbys.
Just seems alot smoother to me. I get mine from torres engineering.

 

[mrmudcat]

:dance rs guitarworks wired vintage.................nuff said:dance

 

[LeadedEL84]

Thanks for the advice guys. I am definately considering an RS guitarworks kit. I've studdied the kits on the website and I have some thinking to do. I need to learn some more about what the results will be. There are two kits that sound interesting but I have a few reservations about them.

The first kit is the Vintage/upgrade kit with 500K RS/CTS pots and Luxe Bumblebee caps.
The description of this kit sounds awesome. The things I have concern over are the increased upper midrange and warmer sound. First I am not sure if "warmer" means a treble loss. I don't want to lose any treble. I am happy with my high end the way it is now. Second I don't know how I will like increasing the upper mids. My LP does not lack any midrange. In fact it has alot of upper mids. I am worried an increase might be too much. The description of the pots sound perfect but I need to get more detailed info about the effect of the Bumblebee caps.

The second kit is the Modern/vintage upgrade with 500k CTS pots w/ Jensen .015 neck and .022 bridge caps. This kit sounds like exactly what I want with the neck pickup. Also from the description it sounds like there will be a better balance between pickups. In theory this sounds good to me. My neck pickup has alot of bass compared to the bridge. Some difference is good but if they were a little closer together I would be happier. My main concern with this kit is where the description says it will warm up the bridge pickup. Once again I am happy with my treble and the balance between my treble and mids the way the bridge pickup is now. However,the description of warmer,woody sound has piqued my interest. I love the woody sound.

Both these kits sound great but I need more detailed info on the effect these changes will have on my guitar. I need to learn as much as possible to decide between kits. I also have to make sure I am not going to lose the things I like about my current setup. I need some more details from real world experience because I might be reading too much into the descriptive terms used by RS.
I will likely call RS at some point for more info. That might be a little while because I am not going to do this project immediatly. I have other things on my plate right now and guitar stuff will have to wait a little while. So this is the perfect time to research and learn all I can instead of doing an impulse buy and going in blind.

 

[ZMAN]

I chose the 022 Bumblebee caps because that is what was in the vintage LPs.
My guitar was a chambered model so it was quite bright sounding. The .022s were a perfect blend to bring a little more mellow tone. Also this guitar had the ceramic pickups, so that made it even more bright and harsh sounding.
The stock pots turned everything to mud when you dialed them back.
So you can see how adding the new pickups and RS kit, made the guitar everything that I wanted. This guitar is light, and sweet sounding, and has killer looks. Not much more you can ask for.

 

[mrmudcat]

leaded brother go to the 3-4 gibson page entitled one more for the road of course threadstarter by mrmudcat some nice pics of one of these kits

 

[LeadedEL84]

I chose the 022 Bumblebee caps because that is what was in the vintage LPs.
My guitar was a chambered model so it was quite bright sounding. The .022s were a perfect blend to bring a little more mellow tone. Also this guitar had the ceramic pickups, so that made it even more bright and harsh sounding.
The stock pots turned everything to mud when you dialed them back.
So you can see how adding the new pickups and RS kit, made the guitar everything that I wanted. This guitar is light, and sweet sounding, and has killer looks. Not much more you can ask for.

Yeah I can see why the Bumblebees had the desired effect on your LP. If I have the details right you have a chambered LP,BB1 & 2 pickups with bumblebee caps. I know the LP standards I played at GC with chambered bodies and BB PUPs were alot different sounding than my LP. They were bright sounding with a relaxed midrange and balanced bass. Good sound but it was bright and modern sounding. I can see how the vintage style caps would warm them up and sweeten the tone. I am not certain which BB PUPs were in these guitars but I was thinking they were the BB pros.
Since I am starting with a weight releived but not chambered model and different PUPs I have to take that into account while predicting what the end results will be. Then again I might be worrying about nothing. I might be over-estimating the treble loss/mid increase. It might be as simple as dialing back the mids on the amp a little and turning the treble up to taste.
I am convinced the CTS 500k audio taper pots are the way to go. As far as the caps go I guess I'll get some advice from RS on which kit to choose. I'm sure any questions I have about applying their kits to the 490/498 PUPs in a weight releived/non chambered body will not be new to them.
Thanks for all the help and info,guys. I think you have put me on the right track.

 

[LeadedEL84]

leaded brother go to the 3-4 gibson page entitled one more for the road of course threadstarter by mrmudcat some bice pics of one of these kits

That is a cool SG project you did there. I love to see a broken Gibby get a new life that way. The RS kit you put in there looks great too. I must have overlooked that thread before. I'm not usually a big fan of the distressed look but yours looks good. Looks right.

 

[gregsguitars]

tonemojo, tell Jonsey Greg sent ya for a good deal.

 

[Earle G]

Try re-wiring it to the "vintage" wiring as that doesn't lose the highs and get
muddy when volume is lowered. You shouldn't have to change much from
existing, just where the wires connect from the volume pot to tone pot.