Design Flaws, and why guitarists generally fear change

This is a setup issue because I can make those stay in tune perfectly.

Oh totally ( and I will note it’s not a gem like it’s that bad as is right now)

I just don’t buy into “x brand stays in tune x brand doesn’t” and was a providing an anecdotal juxtaposition of what you usually hear…
 
Oh totally ( and I will note it’s not a gem like it’s that bad as is right now)

I just don’t buy into “x brand stays in tune x brand doesn’t” and was a providing an anecdotal juxtaposition of what you usually hear…
But if X brand is a shit design and the QC is crap then X brand is highly likely to have tuning issues.
 
You don’t bend strings on this so it is a dumb comparison.

I hope you get I'm only playing asshole devil's advocate here. :rofl
That terrible design would have never gotten my Engineering Management sign-off back in 52.

Holy shit, what then?
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Basically if you have a Gibson it needs to be always in a stand or a case if you’re not playing it. Look after it and understand its flaws and limitations and you will be fine. Upper fret access is totally crappy as well but they sound fantastic and look great.
 
I swear on my mum this is the first and last time I will ever do this.

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Totally freaks me out when I see someone listing a Les Paul and they have photos with the guitar lying flat like this. I would never consider buying that guitar cause the current owner is a dumbass imo.
 
I swear on my mum this is the first and last time I will ever do this.

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Totally FREAKS ME OUT when I see someone listing a Les Paul and they have photos with the guitar flat on surfaces. I would never consider buying that guitar cause the current owner is a dumbass imo.
That is actually quite a bit stronger but I agree.
 
I totally get what @metropolis_4 was saying about not perceiving these things as issues. I knew what I was getting into when I got mine and I think if anything, things like the weight and fret access were enticing to me because I knew they’d lend a hand in me approaching it differently. I don’t perceive them as issues, they’re just different.

Or maybe, the things I enjoy about playing them make up for anything I’d perceive as an issue. I just love the balls of them, I love the way they physically feel when playing them….just like my Strats or Ibanez stuff!
 
I totally get what @metropolis_4 was saying about not perceiving these things as issues. I knew what I was getting into when I got mine and I think if anything, things like the weight and fret access were enticing to me because I knew they’d lend a hand in me approaching it differently. I don’t perceive them as issues, they’re just different.

Or maybe, the things I enjoy about playing them make up for anything I’d perceive as an issue. I just love the balls of them, I love the way they physically feel when playing them….just like my Strats or Ibanez stuff!
With something this classic the limitations are its personality. It makes you play different things and that can only be good ( until you play up top🤣)
 
With something this classic the limitations are its personality. It makes you play different things and that can only be good ( until you play up top🤣)

When I learned the “No More Tears” solo, I didn’t have to practice the ending lick, I had to practice shifting my hand to get around the neck hell! :rofl
 
Watch all the best LP shredders and most of them adjust the neck angle when it's time to really go to town up high. I could never play a Les Paul sitting because of the crappy upper access.

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The Knaggs I just bought has the exact same headstock design.
Maybe; Maybe not. The wood could be sawn differently, the grain direction may have been adjusted, it could be glued in any number of different ways.

Do you know for a fact that all the joinery and aspects mentioned above are indeed the same? I suspect they aren't, and just because the outward appearance of the finished product is the same (headstock angle, string angles in both planes, etc.), doesn't mean the designs are both the same.
 
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