93LPStudio
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This is a post about the transformation if you wanna call it that or rather the modification of a 99 Unsung BB3 Custom that I acquired about a year and a half ago now. I initially bought this Custom as I had planned to sell it and maybe make a little on it to fund something else...little did I know I couldn't let her go! First thing I noticed about this guitar was other than some "worming on the back and a few scratches on the back, other than a few dings here or there, this guitar looked outstanding! Sure the gold hardware was showing it's age but that's to be expected somewhat for a 16 year old guitar. Totally stock except the pickups were replaced. Original HSC in excellent condition as well. Got her home and still amazed how good she looked and first thing I noticed was she was a heavy one, guessing 9-10 lbs. range as I have not weighed her yet. Could tell she needed some TLC and strings as well, but she felt great in my hands, even the slim 60's neck, which I am more accustomed to late 50's necks like on my 2 Gibson Les Paul's, a 14 Traditional and a 93 Studio. Plugged her into one of my amps and from the first stroke across her strings I thought to myself, "this thing sounds outstanding"! The sustain was absolutely amazing as well. Needless to say I found myself trying to convince myself that there was absolutely no way that this Epiphone could sound as good, sustain better than, and feel better than my two Gibby's I had at this time, BUT it did! The toggle switch was junk, and the pots were toast as well, yet this thing sounded better than and felt better than a Gibson I paid $2615 for! So, needless to say I wasn't gonna except the notion that it could in any way be that great of a guitar. Later few months down the road a cousin of mine who has been playing for 50 years, self taught, and is a phenomenal (yea everybody has one) player, I took this Custom to him to see what he thought. Needless to say he was as amazed as I was in light of the fact the electronics were toast more or less except the pups, that it felt as good and sounded and sustained like it did. But I wasn't gonna keep it I said to myself. Well, I ended up buying a 13 Gibson 50's Tribute Goldtop, fell in love with it, modded it, but could never quite grasp the feel of the neck, it was in between a 50's and a 60's slim. Beautiful guitar to boot if I may say so too. Any way's, I sold it! No need to have it if I wasn't gonna play it. So, my cousin, remember the phenomenal player, seriously he really is though bought a 2012 Gibson Custom Shop LP Custom. Well I played it and tinkered around with it, but the one thing I noticed, and putting my flame suit on now, it did not feel nor sound any better than my 99 BB3 Custom...Epiphone! That's when my gears begin to turn concerning the Custom. Now I am 52 this month, been around the world and back as a Grunt in Uncle Sammy's Army, and I don't need to try to impress anyone, hell I don't even try to impress myself anymore, but the moral of this story IS I learned that being a brand snob doesn't get you anywhere. I also learned that a good guitar is just that...a good guitar no matter what is written on the headstock. And a good player can make the cheapest guitar sound pretty darn good as well. So, that's the story and I am sticking to it.
Now, the second part of this story begins. I got the Epiphone Custom out and feel in love with it, to be honest I was from the beginning, but remember that brand snobbery, well I got over that real quick. I couldn't put her down and adapted to the 60's neck so well that I like it better than a 50's neck now. So, only guitar I have not messed with, well not totally is my 93 Studio, I only did cosmetic mods to it. All my other Lester's, the 13 50's Tribute and my 14 Traditional, all got the Faber ABRN bridge along with iNserts, and Gotoh Aluminum bridge. The Tribute I even done the Faber tailpiece inserts on it. All I can say IS I am HOOKED on Faber! So, the second part of the story is the complete "makeover", modification, upgrade, whatever you choose to call it of my 99 BB3 Custom. So, IF you have made it this far stick around, subscribe if you wish as I get time to complete her. No this isn't anything no one else has done before now, NOTHING new! But I am sure possibly some have not as much done this to a Epiphone, much less a Gibson, and hopefully this will shed some light onto some things and answer some questions for those on the fence about doing something like this and what to expect and such. I am no expert, common sense, patience and taking my time is all I have going for me in this endeavor. When I am done she has got to be outstanding cause she was when I started and all I am doing is making her better.
My mod list is as follows:
Stripped down completely of all hardware, wiring, tuning machines, everything.
Polish/buff headstock and body to eliminate as many surface scratches and such as possible.
Install Faber Steel Inserts for bridge and tailpiece.
Install Faber ABR locking bridge with titanium saddles (pre-notched) and a Faber Aluminum Tailpiece.
Install Gotoh Tuning Machines (Look identical to original tuners fit perfect and utilizes same holes).
Install a TUSQ XL nut.
Install JonesyBlues Black Beauty 3 complete 50's wiring kit with 500K CTS pots, .022 oil filled caps, Switchcraft long gold toggle switch pre-wired, Switchcraft gold jack pre-wired into the harness.
Install Top hats with gold reflectors and gold pointers.
Install all new pup plastic rings and pup adjustment springs.
Reinstall uncovered pups that came in the guitar, ALL 3 are DiMarzio's, Neck pup is a DP100, Middle pup is a DP192, and Bridge pup is a DP159 (talk about a badass combination...no wonder it sounds so good).
Install new gold recessed jack plate and pickguard bracket.
Install ALL new gold screws wherever needed.
Fret level, crown and polish (done by my Luthier)
Cut saddles and pre-notched nut, which the TUSQ nut string spacing IS perfect to what I have now! (done by my Luthier)
Complete set-up (I do my own but since my Luthier will being doing fret work, might as well have him do a set-up). I will fine tune it to my liking, pup heights, pole piece heights and such, action as low as possible without fret out or buzzing.
9-42's Gibson Vintage Strings.
So, that is the story! I have everything I need, and as time, work, permits me to get it done, and then to my Luthier. Trust me I want it done tomorrow but life, and my OCD won't allow me to do so...slow and methodical, but done right the first time! So here we go! Pics and such to follow...
Everything is removed in this pic except the stock bridge/tailpiece inserts
Close up of the pickup cavities
Neck joint
All you need, a bolt, use a wrench and turn it until it bottoms out and the insert comes out, can't be any simpler than this! All four inserts for the bridge/tailpiece are exactly the same size/type.
Stock Inserts out
Stock tailpiece insert on the left. Faber tailpiece insert on the right. Size is the same except a smaller lip on the Faber. Weight is biggest difference.
Stock Bridge insert on left. Faber insert with thumbwheel attached on the right. Size is the same, weight again much more with the Faber. The threaded stud that the bridge sits on is a much smaller diameter than the stock screw in stud, and on the Faber the stud is fixed/manufactured into the insert as one solid piece.
For those that have never seen or done this on a Gibson or an Epiphone. Here is a Gibson bridge insert from my 14 Traditional on the left and the stock Epiphone on the right. Is it me or are those of you that never seen the difference amazed in the little light weight zinc inserts on Gibson USA line in comparison to the huge Epiphone inserts??!! Sure some will say wood is only thing that matters. I agree to an extent but transferring the the tone/sound via this wood all has to do somewhat with these inserts! Don't believe me ask someone who has change these inserts and the difference it made. Again, this is MY opinion on this.
Epiphone Tailpiece insert on left, Gibson USA tailpiece insert from my 13 50's Tribute on the right. Again, the Gibson is made of light weight zinc, and is again smaller in thickness. Does this matter...the jury is out on this again!
Gibson USA bridge insert from my 14 Traditional, and thumbwheel post on left. Epiphone insert and thumbwheel post on the right. Again size and weight!
Inserts are installed in bridge/tailpiece. Hammer in pic has a soft plastic and soft rubber tip. You can find these at Lowes for less than $10 compared to spending $20-$30 for one.
Close up of Faber inserts installed flush to body. In using the supplied nylon cylinder that goes over the bridge insert, rap it with the hammer using enough force but not like driving a nail in a piece of wood. MAIN thing IS hit it straight on cause otherwise you can actually bend the stud the bridge sits on and then your gonna have issues!
Epiphone stock Tailpiece on the left/behind, Faber on the right. The Faber is the 1959 design not the modern design used today by Epiphone or Gibson USA line. Also, this is the first time using the Faber as I always used a Gotoh tailpiece. I think the Faber looks and is better quality wise than the Gotoh, but that probably doesn't make any difference as they are both a solid piece of machine cut aluminum.
Epiphone tailpiece behind the Faber tailpiece in front.
Faber ABR Locking Bridge with titanium saddles pre-notched is on the left, Epiphone bridge on the right.
In this pic the Epiphone bridge is behind the Faber bridge. I tried to get as good as a shot to show that the Faber is a lower profile than the Epiphone bridge. Not a lot but a little can make a big difference in obtaining the action being set to height one likes IMO. Also, means you can obtain a lower tailpiece without touching the back of the bridge.
Pic of the profile of the Faber bridge to compare to the next pic below of the Epiphone bridge.
Bottom side of Epiphone and Faber bridges.
Epiphone Tailpiece bolt on the left and Faber on the right.
New CTS pots are of course bigger than stock Epiphone pots and the only way to use the CTS pots is to enlarge the holes in the body. A small piece of a dowel and sandpaper does the trick. Just open up enough to allow the pots to freely be installed. Use compressed air to spray off sandpaper particles cause if you don't and wipe it off scratches galore! After that I even kitchen sink sprayer and sprayed off before wiping off to remove particles. No I did NOT soak it either and it has a finish so water runs off of it. Remember I am OCD!
Photo of the Jonseyblues BB3 wiring harness with Switchcraft gold jack attached. This is absolutely a quality harness, well labeled, put together great looks outstanding!! Jonsey IS the man and glad to support him here on MLP! This harness has one push pull pot and has a total of 6 tonal configurations. He makes one that has 13 different tonal configurations. I'll do well to remember 6 much less 13 lol! Here is the link BLACK BEAUTY 3 WIRING .
Switchcraft gold long toggle switch, pre-wired/soldered from Jonseyblues. Already test fit it and hole was just big enough with deep collar nut, so didn't have to enlarge the hole. No not using the gold tip, I have a creme tip to install! Labeled and ready to go.
Body cavities and fretboard taped up ready to polish/buff out the body and headstock.
As far as I have got thus far! Plan to polish body and headstock today. Install Gotoh Tuning Machines. And try to install the toggle switch with new poker chip, new wiring harness, jack/jack plate. So stayed tuned if you like, and please excuse any misspelled words I tried to catch them all. Feel free to comment, add any advise you like and as Arnold said...I'll Be Back
Now, the second part of this story begins. I got the Epiphone Custom out and feel in love with it, to be honest I was from the beginning, but remember that brand snobbery, well I got over that real quick. I couldn't put her down and adapted to the 60's neck so well that I like it better than a 50's neck now. So, only guitar I have not messed with, well not totally is my 93 Studio, I only did cosmetic mods to it. All my other Lester's, the 13 50's Tribute and my 14 Traditional, all got the Faber ABRN bridge along with iNserts, and Gotoh Aluminum bridge. The Tribute I even done the Faber tailpiece inserts on it. All I can say IS I am HOOKED on Faber! So, the second part of the story is the complete "makeover", modification, upgrade, whatever you choose to call it of my 99 BB3 Custom. So, IF you have made it this far stick around, subscribe if you wish as I get time to complete her. No this isn't anything no one else has done before now, NOTHING new! But I am sure possibly some have not as much done this to a Epiphone, much less a Gibson, and hopefully this will shed some light onto some things and answer some questions for those on the fence about doing something like this and what to expect and such. I am no expert, common sense, patience and taking my time is all I have going for me in this endeavor. When I am done she has got to be outstanding cause she was when I started and all I am doing is making her better.
My mod list is as follows:
Stripped down completely of all hardware, wiring, tuning machines, everything.
Polish/buff headstock and body to eliminate as many surface scratches and such as possible.
Install Faber Steel Inserts for bridge and tailpiece.
Install Faber ABR locking bridge with titanium saddles (pre-notched) and a Faber Aluminum Tailpiece.
Install Gotoh Tuning Machines (Look identical to original tuners fit perfect and utilizes same holes).
Install a TUSQ XL nut.
Install JonesyBlues Black Beauty 3 complete 50's wiring kit with 500K CTS pots, .022 oil filled caps, Switchcraft long gold toggle switch pre-wired, Switchcraft gold jack pre-wired into the harness.
Install Top hats with gold reflectors and gold pointers.
Install all new pup plastic rings and pup adjustment springs.
Reinstall uncovered pups that came in the guitar, ALL 3 are DiMarzio's, Neck pup is a DP100, Middle pup is a DP192, and Bridge pup is a DP159 (talk about a badass combination...no wonder it sounds so good).
Install new gold recessed jack plate and pickguard bracket.
Install ALL new gold screws wherever needed.
Fret level, crown and polish (done by my Luthier)
Cut saddles and pre-notched nut, which the TUSQ nut string spacing IS perfect to what I have now! (done by my Luthier)
Complete set-up (I do my own but since my Luthier will being doing fret work, might as well have him do a set-up). I will fine tune it to my liking, pup heights, pole piece heights and such, action as low as possible without fret out or buzzing.
9-42's Gibson Vintage Strings.
So, that is the story! I have everything I need, and as time, work, permits me to get it done, and then to my Luthier. Trust me I want it done tomorrow but life, and my OCD won't allow me to do so...slow and methodical, but done right the first time! So here we go! Pics and such to follow...
Everything is removed in this pic except the stock bridge/tailpiece inserts
Close up of the pickup cavities
Neck joint
All you need, a bolt, use a wrench and turn it until it bottoms out and the insert comes out, can't be any simpler than this! All four inserts for the bridge/tailpiece are exactly the same size/type.
Stock Inserts out
Stock tailpiece insert on the left. Faber tailpiece insert on the right. Size is the same except a smaller lip on the Faber. Weight is biggest difference.
Stock Bridge insert on left. Faber insert with thumbwheel attached on the right. Size is the same, weight again much more with the Faber. The threaded stud that the bridge sits on is a much smaller diameter than the stock screw in stud, and on the Faber the stud is fixed/manufactured into the insert as one solid piece.
For those that have never seen or done this on a Gibson or an Epiphone. Here is a Gibson bridge insert from my 14 Traditional on the left and the stock Epiphone on the right. Is it me or are those of you that never seen the difference amazed in the little light weight zinc inserts on Gibson USA line in comparison to the huge Epiphone inserts??!! Sure some will say wood is only thing that matters. I agree to an extent but transferring the the tone/sound via this wood all has to do somewhat with these inserts! Don't believe me ask someone who has change these inserts and the difference it made. Again, this is MY opinion on this.
Epiphone Tailpiece insert on left, Gibson USA tailpiece insert from my 13 50's Tribute on the right. Again, the Gibson is made of light weight zinc, and is again smaller in thickness. Does this matter...the jury is out on this again!
Gibson USA bridge insert from my 14 Traditional, and thumbwheel post on left. Epiphone insert and thumbwheel post on the right. Again size and weight!
Inserts are installed in bridge/tailpiece. Hammer in pic has a soft plastic and soft rubber tip. You can find these at Lowes for less than $10 compared to spending $20-$30 for one.
Close up of Faber inserts installed flush to body. In using the supplied nylon cylinder that goes over the bridge insert, rap it with the hammer using enough force but not like driving a nail in a piece of wood. MAIN thing IS hit it straight on cause otherwise you can actually bend the stud the bridge sits on and then your gonna have issues!
Epiphone stock Tailpiece on the left/behind, Faber on the right. The Faber is the 1959 design not the modern design used today by Epiphone or Gibson USA line. Also, this is the first time using the Faber as I always used a Gotoh tailpiece. I think the Faber looks and is better quality wise than the Gotoh, but that probably doesn't make any difference as they are both a solid piece of machine cut aluminum.
Epiphone tailpiece behind the Faber tailpiece in front.
Faber ABR Locking Bridge with titanium saddles pre-notched is on the left, Epiphone bridge on the right.
In this pic the Epiphone bridge is behind the Faber bridge. I tried to get as good as a shot to show that the Faber is a lower profile than the Epiphone bridge. Not a lot but a little can make a big difference in obtaining the action being set to height one likes IMO. Also, means you can obtain a lower tailpiece without touching the back of the bridge.
Pic of the profile of the Faber bridge to compare to the next pic below of the Epiphone bridge.
Bottom side of Epiphone and Faber bridges.
Epiphone Tailpiece bolt on the left and Faber on the right.
New CTS pots are of course bigger than stock Epiphone pots and the only way to use the CTS pots is to enlarge the holes in the body. A small piece of a dowel and sandpaper does the trick. Just open up enough to allow the pots to freely be installed. Use compressed air to spray off sandpaper particles cause if you don't and wipe it off scratches galore! After that I even kitchen sink sprayer and sprayed off before wiping off to remove particles. No I did NOT soak it either and it has a finish so water runs off of it. Remember I am OCD!
Photo of the Jonseyblues BB3 wiring harness with Switchcraft gold jack attached. This is absolutely a quality harness, well labeled, put together great looks outstanding!! Jonsey IS the man and glad to support him here on MLP! This harness has one push pull pot and has a total of 6 tonal configurations. He makes one that has 13 different tonal configurations. I'll do well to remember 6 much less 13 lol! Here is the link BLACK BEAUTY 3 WIRING .
Switchcraft gold long toggle switch, pre-wired/soldered from Jonseyblues. Already test fit it and hole was just big enough with deep collar nut, so didn't have to enlarge the hole. No not using the gold tip, I have a creme tip to install! Labeled and ready to go.
Body cavities and fretboard taped up ready to polish/buff out the body and headstock.
As far as I have got thus far! Plan to polish body and headstock today. Install Gotoh Tuning Machines. And try to install the toggle switch with new poker chip, new wiring harness, jack/jack plate. So stayed tuned if you like, and please excuse any misspelled words I tried to catch them all. Feel free to comment, add any advise you like and as Arnold said...I'll Be Back
. Yes this is a laminated neck. As you can see that is a chunk of wood even if laminated and from what I understand they are very strong necks. I know the profile is awesome. Yea I have always liked 3 pup Lesters ever since when I was a teenager and Frampton played them. I never really planned to keep this one but kinda love at first sight 
! I usually play through my Marshall DSL40C and absolutely NO hum whatsoever! So once I reapply the shielding paint in the cavities I will try to move forward with her as time permits. I thought about using the copper tape but don't see the point in doing so as she is quite, and hope she is when i am done, and should be. Might use copper tape on cavity covers. Suggestions??
