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ClemTrout

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Reply with quote  #1 
Hi All:

Does anyone know what modifications Ted "typically" did to his thin-line Gibsons?  Who did the actual work? Anyone ever see Ted play a modified Gibson Trini Lopez?

Thanks in advance for any information.

Clem


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Originality is the thing. You can have tone and technique and a lot of other things but without originality, you ain't really nowhere. Prez
ClemTrout

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Reply with quote  #2 
Leon-

Thanks for the quick reply.  I "assumed" that TG did the work himself...good to get confirmation.

The reason I asked about the Trini is that I am buying one that looks and sounds like Ted worked on it.  Bigsby tail piece, black sliders, black rotary knobs (with tiny brass "dots" indicating 3 diferent positions), a Varitone, etc.

Even if Ted didn't own this guitar, there is no question that it is a tribute to him.  After playing it, particularly after dialing in the little knobs for the BIG bass and tone, I just got goose bumps.

I flew back home to Texas and put on "Solo Guitar.  And I got down my first edition copies of "Chord Chemistry" and "Modern Chord Progressions, Vol. 1."  ready to keep wood shedding...  :-)

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Originality is the thing. You can have tone and technique and a lot of other things but without originality, you ain't really nowhere. Prez
ClemTrout

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Reply with quote  #3 
Hi Again Leon/All:

Well, the Ted-Trini mystery has been solved.  My "new" Trini (I am the second-owner) was originally owned by Carmi Simon, a friend and co-hort of Ted's back in the day.  Carmi and Ted discussed, conspired, consulted and kibbitzed about the mods, which Carmi did/installed (and which Ted "inspected and approved").  I had a great conversation with Carmi about the guitar, Ted and the old days.

The look, function, vibe and variety of sounds was/is definitely Carmi's loving tribute to Ted...and I am so proud to be the new owner.  It arrived today and now, I'm going to play around with all those switches and knobs.



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Originality is the thing. You can have tone and technique and a lot of other things but without originality, you ain't really nowhere. Prez
DanSawyer

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Reply with quote  #4 
Quote:
Originally Posted by LeonWhite
I don't believe that the red 355 was ever used to try and contact players outside the galaxy, but it certainly was nearly there for capabilities.



   
      
     



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Dan Sawyer, friend of Ted's.
ClemTrout

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Reply with quote  #5 
Well, here's a picture of my '66 Trini a la Ted:



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Originality is the thing. You can have tone and technique and a lot of other things but without originality, you ain't really nowhere. Prez
DanSawyer

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Reply with quote  #6 
That Trini is very cool. Reminds one of Ted's Gibsons, but the work is neater… more symetrical.

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Dan Sawyer, friend of Ted's.
ClemTrout

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Reply with quote  #7 
Quote:
That Trini is very cool. Reminds one of Ted's Gibsons, but the work is neater… more symetrical.


Yeah, that's Carmi.  He went on to become (among other things) a designer/builder/architect.  He told me that he and Ted talked at length about how to rivet in the slide switches and how to wire it to get "every possible sound out of the two Humbucking pick-ups..splitting, ganging, phase, tone circuits and color (Varitone and rolling off the knobs)."  Carmi's recollections of Ted are quite wonderful.

I have been playing the guitar constantly since it arrived last Friday.  It has moved into the #1 spot. The Ted connection is very special to me.  Like most who visit this site, I was, and continue to be, very inspired by TG.


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Originality is the thing. You can have tone and technique and a lot of other things but without originality, you ain't really nowhere. Prez
woodchipper

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Reply with quote  #8 
Hey Clem I live in Texas what part are you living in.

Just registered here great place..
listening to Ted now.
Im up north of Big D.

btw what a great guitar !

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To learn.
ClemTrout

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Posts: 10
Reply with quote  #9 
I live in the Hill Country west of Austin, on the banks of the Pedernales River.  It is a beautiful place to play guitar!

The guitar is better each time I play it!  So many tonal colors and easy to access while playing.  I am playing it through a  '64 Princeton and using a "Fender Special Effects Center" (a rare oil can delay w/"Dimension IV", bass and treble boost and distortion--very late 60's!).  It gets  very close to a Leslie effect...very Ted.


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Originality is the thing. You can have tone and technique and a lot of other things but without originality, you ain't really nowhere. Prez
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