glpg80
Well-known member
They all play stunning but the tapered pencil necks aren’t for everyone. It’s not a taper you can order today from anywhere and exclusive on Norlin LPCs of the 70’s. My 85 doesn’t have it and has the 60’s standard neck.
They all play stunning but the tapered pencil necks aren’t for everyone. It’s not a taper you can order today from anywhere and exclusive on Norlin LPCs of the 70’s. My 85 doesn’t have it and has the 60’s standard neck.
DanTravis62
Moderator
Yep absolutely. I'm actually surprised no one (especially gibson) offers it anymore though, there's a lot of us out there who are into it
glpg80
Well-known member
They’d have to go back to maple necks and volutes to support it - no way mahogany could pull it off especially without a volute.
I love it - makes everything way easier to play 1-6 feet area. But it’s thicker than a traditional at the heel so it’s a huge difference across the neck. Either people love it or they hate it - I’ve never found anyone to say otherwise or even point it out to be honest. It doesn’t bother me one bit.
GJgo
Well-known member
I can totally beleive this, it's just frustrating looking for "the one". In the last month I've played maybe 20 LPs, and only 2 of them (custom RIs) were epic. Most couldn't stand up to a LTD 400 series, and 2 or 3 were decent. Comparatively, if you're shopping for a MIJ ESP from the early 2000s on (T/S/K or 1/2 serial), you can pretty much order sight unseen and be assured of an epic guitar. ...that, to be fair, will never sound like a good LP. Which is how they get you to accept all the shortcomings.
glpg80
Well-known member
I owned a custom shop ESP MII with a brass block ages ago and sold it like a dumbass for a dead wood, blind purchase, Wolfgang. The Norlin LPCs resonate more openly and musically as is. Nothing is as fast as a maple neck ESP but nothing touches the Norlin sisters for tone and versatility. These guitars are flat as good as it gets.
DanTravis62
Moderator
That's why everyone plays the eclipses live (especially the Eiis) and records with gibsons - unless they're big rockstars like Bjorn Gelotte or something
I can completely understand preferring the sure thing of the esp
The problem is that i've been recording distorted guitars for as long as i've been playing guitar, and I can't unhear those sweet, sweet low mids that for some reason no one can replicate
C
Chronic Narnia
Active member
Two dealers. Better call your favorite gear advisor…
7704A
Well-known member
I'm curious, could this just be explained by some sort of sampling bias? From what you and @glpg80 have said it sounds like you're comparing guitars that take some digging to find with guitars that are more readily available. Maybe the same amount of time invested in digging for a magical PRS, Suhr, Kauer, etc. would also turn up an equally magical guitar? Phrased differently, if both Gibson and Chibson put out magical instruments at the rate of 1/1,000,000, but you spend more time looking for a magical Gibson, then you'll be more likely to find a Gibson that's better than all the Chibsons you played than you are to find a Chibson better than all the Gibsons.
glpg80
Well-known member
I bought all three Norlins sight unseen and online. They’re all badass. Sorry but quality wood from that era, my eye for restoration and paint revival, and quality luthier workmanship turned these into golden pillars. Beforehand they were all collectors pieces trapped in broken cases that smelled of mold and the guitars had no fret life, 40 year old strings, and looked like ass. It takes love and effort to create what I shared above.
Good luck finding a golden pillar in the wild with any manufacturer. I’ve never done it in my 27 years of playing guitar.
DanTravis62
Moderator
Nah, I've played way too many guitars for this to be the case. I see what you're getting at, but the sample size is just way too big.
GJgo
Well-known member
Man, with a couple exceptions I've gigged everything I have. I've noticed a couple things. First, when I bring my best gear, people notice the tone & I get compliments that I don't get with the second best stuff. Second, (almost) no one has any idea what the gear is or its value. I used to trip & think I'd show up and with a IIC+ and everyone would cream thier pants, till I realized no one knows or cares. Makes it easier mentally to bring that kind of gear. I will 100% gig this LPC Murphy (if it's a keeper), has to earn its stripes!
Now, to be fair, if I was touring & not just playing local shows I'd rethink this strategy. There are a lot of states where the CCW doesn't have reciprocity...
glpg80
Well-known member
I won’t gig the norlins. They get played as they should - but not out in public. Accidents happen, things get dinged, etc. I’ve worked way too hard saving up for and putting money into restoring them and getting decent cases. They’re riders on insurance. Just too nice to gig.
DanTravis62
Moderator
I gigged my Larry wet dry rig and BC Ignitor supreme for years lol
We're on the same wavelength
NowYou'rePlayingWithPower
Well-known member
I've had a lot of Gibsons from every era from the 50s to the present and only a few were actually what I would consider not up to par. My favorites were post Norlin 80s and oddly enough for whatever reason I've owned a bunch of 2011 "raid year" that have all been awesome despite not always lining up to the published specs due to different woods after the feds took some of their stock during the frivolous raid.
Good wood era is pretty awesome, too and def give off a more aged wood vibe, imo. Not sure if that was due to specific wood selections, environment during the tree's life, or they kilned/dried it longer or what but they remind me of the difference between 4 year old dried wood for violins/cellos and a 10 year which is about 5-20x the price on a new build. Anyways, imo/ime the thing Gibson does best is building Gibsons. By that I mean they are vintage style instruments and not trying to change the formula too much. I'm a believer in nitro.
All of that said, my 83 US Warlock is the golden one across the board.
Good wood era is pretty awesome, too and def give off a more aged wood vibe, imo. Not sure if that was due to specific wood selections, environment during the tree's life, or they kilned/dried it longer or what but they remind me of the difference between 4 year old dried wood for violins/cellos and a 10 year which is about 5-20x the price on a new build. Anyways, imo/ime the thing Gibson does best is building Gibsons. By that I mean they are vintage style instruments and not trying to change the formula too much. I'm a believer in nitro.
All of that said, my 83 US Warlock is the golden one across the board.
DanTravis62
Moderator
BC rich, hamer, and Dean all have "golden era" guitars that I would say are a cut above what's considered "high QC" modern stuff
NowYou'rePlayingWithPower
Well-known member
I kick myself in the mind butt sometimes for passing on so many sub $1k pre class axe era US BC Rich guitars thinking they weren't really popular enough to become unreasonably priced. Not even that long ago I would see $500-1k Norlins on Seattle Craigslist sit for months, too. Weird times. Thanks Obama (trogly)!
DanTravis62
Moderator
RIP guitar prices because of COVID, especially
NowYou'rePlayingWithPower
Well-known member
I wonder if in the future they will be referred to as covid era when put up for sale and 9/10 will be "closet queens".
simonfrewler
Well-known member
They should rename this thread!!????
M
Mad Axe
Active member
I agree, Norlin era Gibsons are hidden gems. The neck profiles especially. My main gigging guitar was a ‘72 SG Custom and when I was looking for a backup I had a hell of a time finding a modern SG that felt close.