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Sky
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Reply #175 on: November 28, 2005, 11:38:50 AM

I would recommend the Gibson SG 61 reissue :P It's a great guitar, I played about a hundred guitars before settling on it. But that's me. I didn't get my hands on a Les Paul double-cutaway, though. Any reason you can't get your hands on it first? It's really worth the journey to a big guitar store to put the entire stable through the motions, imo, especially if you're going to drop big bucks on one.
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Reply #176 on: November 28, 2005, 12:15:51 PM

Playing a newer version is possible, but finding a place to play vintage instruments is tougher.  I guess I'll make a trip to Denver and see what I can get my hands on.  Living in Wyoming really has had a profound effect on my ability to explore instruments.  Sometimes I miss my days working as a tech in a guitar shop in Minneapolis.

Thanks for the input Sky.  I'll give the reissue a try... though I think I may be too much of a hack to really appreciate it.

"Always do what is right. It will gratify half of mankind and astound the other."

-  Mark Twain
stray
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Reply #177 on: November 28, 2005, 12:27:16 PM

Playing a newer version is possible, but finding a place to play vintage instruments is tougher.  I guess I'll make a trip to Denver and see what I can get my hands on.  Living in Wyoming really has had a profound effect on my ability to explore instruments.  Sometimes I miss my days working as a tech in a guitar shop in Minneapolis.

Thanks for the input Sky.  I'll give the reissue a try... though I think I may be too much of a hack to really appreciate it.

Yeah, that kind of sucks if you can't explore a bit. Even same model guitars sometimes differ from each other. Especially Gibsons (a lot of the newer, more affordable, multi piece bodies are sketchy especially).

[edit] can't spell today...
« Last Edit: November 28, 2005, 12:29:13 PM by Stray »
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Reply #178 on: November 28, 2005, 01:43:10 PM

though I think I may be too much of a hack to really appreciate it.

No one is too much of a hack to appreciate a good guitar. I think even kids deserve a decent instrument, but that's me.

It's a Gibson, just like the DC. The differences apart from the horned and thin body shape (which makes it lighter than both the DC and standard LP), is that it has a 60's style slim taper neck, and '57 Classic pickups (the 57's are modeled after the standard Gibson PAF pickup sound. It's the sound heard in just about all Gibson guitars before 1980. They're not super hot like modern metal humbuckers. Think Angus/Townsend).

The slim neck is what makes it really stand out. 60's Gibsons tried to go for more slim feel like Fenders, but resorted back to the older style baseball bat sized necks by the 70's. Some people prefer the 60's feel.

Note: Depending on what year that DC is, it could have 57's as well.

Sky
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Reply #179 on: November 29, 2005, 06:19:05 AM

Yep, the neck sealed the deal for me. There was a $3500 Les Paul that felt like a baseball bat, I thought it sucked...to the amusement of the shop staff. My SG is very thin, but also pretty wide. I'm honest when I say I've never played a better guitar (for me). I can't believe I waited 12 years to get a good guitar, it's really worth it if you enjoy playing, no matter your ability level. Hell, it brought my playing up a notch, easily.

Odd thing - now I see SGs everywhere I go, though a lot seem to have the whammy bar (boo!).
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Reply #180 on: November 29, 2005, 11:42:01 AM

though a lot seem to have the whammy bar (boo!).

Yeah, and those Gibson trems are barely stable. Worse than a Strat. Pretty much why I use a Jazzmaster for that kind of thing. It's just as stable as a Floyd Rose, but not as ugly or hard to work on.

I'd still buy a Firebird though:



As for the use of whammy's in general, I play a lot of surf-ish type stuff and like...Among other things. I like them. I like making all kinds of noises besides just touching frets. I'll yank my strings out with my bare hands if I think it'll make a good song!  smiley
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Reply #181 on: December 01, 2005, 10:14:28 AM

I just came across this during my daily trip through eBay.  I figured that some of you guitar players might appreciate this bass.  It has a thin, fast neck for a bass and a wonderful fuzzy/hollow sound.  I've recorded with one of these basses and while they're pretty terrible for live shows they produce sounds so unique that they're tough to duplicate.

I may just have to buy this thing. 

"Always do what is right. It will gratify half of mankind and astound the other."

-  Mark Twain
Sky
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Reply #182 on: December 01, 2005, 11:36:08 AM

I actually prefer bigger bass guitars, not small ones that guitarists are supposed to like. I did play bass professionally for six years or so, it was tough getting back into guitar after quitting music altogether for about 5 years. My first bass, which was a beater when I was playing guitar in the band, was some monstrously huge peavey bass. Very wide, thick, and long neck. My current bass (after that one was stolen) is a custom bass from the ESP shop in Hollywood. It's pretty thin, thin and long. The custom has some really shitty pickups I never got around to replacing, I was going to slap some bartollinis in it.
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Reply #183 on: December 01, 2005, 12:12:53 PM

Nebu
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Reply #184 on: December 01, 2005, 12:45:06 PM


This would be more to my liking.  I just need to win the lottery or WSOP.

"Always do what is right. It will gratify half of mankind and astound the other."

-  Mark Twain
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Reply #185 on: December 01, 2005, 12:50:27 PM


This would be more to my liking.  I just need to win the lottery or WSOP.

Very beautiful.
stray
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Reply #186 on: December 01, 2005, 01:49:05 PM

Vintage guitar prices make me cry. Please.

There was a time....Hell, only a little over a decade ago.....When yuppies didn't inflate the shit out of everything.

That P90 Goldtop is cheaper than usual though.
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Reply #187 on: December 01, 2005, 07:01:18 PM

Vintage guitar prices make me cry. Please.

There was a time....Hell, only a little over a decade ago.....When yuppies didn't inflate the shit out of everything.

That P90 Goldtop is cheaper than usual though.

When I worked in a guitar store in the early 80's, I took a pre-CBS p-base in on trade for about $300.  I'm sorry I ever sold that bass. 

I want that goldtop ...

"Always do what is right. It will gratify half of mankind and astound the other."

-  Mark Twain
Sky
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Reply #188 on: December 02, 2005, 06:16:45 AM

I let a buddy stay with me during his divorce in the mid90s, right about as I was giving up on music. He picked up a mint condition, in case, with tags, Gibson Grabber bass, I forget the year, 63 maybe. For $150 at a yard sale in Mass. He didn't play, just thought he might some day. Even though I opened my doors to him and offered him $500 (all I had, I was warshin' dishes), he wouldn't part with it. Hell, I told him I'd give him my custom ESP plus cash, so he could still pick up the bass, he refused.

That guy was a dick, I'm friends with his ex-wife now.

As far as vintage goes, who cares. If it plays great, I don't care when it was made or what it looks like, really. People should stop watching antiques roadshow.
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Reply #189 on: December 02, 2005, 07:45:41 PM

That guy was a dick, I'm friends with his ex-wife now.

You have a steady now right?  Just want to make sure dick still isn't involved... ;)
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Reply #190 on: December 04, 2005, 12:44:43 AM

My latest blog post actually has a recording in it. Feedback welcome, tho of course I will ignore it all. ;) It's a pretty simple little piece, and a hurried recording.
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Reply #191 on: December 04, 2005, 01:24:02 AM

I liked the music, but no offense: Midi guitar cracks me up  :-D.  No fluidity or finger/pick dynamics. I look forward to an audio clip though.

Again, I liked the music itself. No offense.


Also, that partial capo tuning is great. I've never used it before....There's a Townsend vibe coming from my guitar now.

[edit] Something about that song strikes me as sort of....Civil War-ish (?). Y'know, like those old folks songs used in PBS specials? And if it was recorded on a real guitar, it would seem that it'd be even moreso.

Maybe it's the name "Memorial" that's making me say that, I don't know. You can call me crazy if you want wink
« Last Edit: December 04, 2005, 02:23:54 AM by Stray »
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Reply #192 on: December 04, 2005, 12:58:15 PM

Uh, the blog post has an actual recording. Did you miss that? There should be a little flash player embedded in the post, and you can click on Play and hear the real thing. The whole point was to replace the crappy MIDI. Go forth, and check again! ;)

I wrote the song on Memorial Day quite a long time ago, and yeah, it does have a bit of that old-school sound to it.
« Last Edit: December 04, 2005, 04:04:11 PM by Raph »
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Reply #193 on: December 04, 2005, 02:45:13 PM

Ah, I see it now. Beautiful, man :)

Much different with the new tempo as well. Only at the slower pace did it take on that 19th century feel. Do you have a recorded version at the MIDI pace too?
« Last Edit: December 04, 2005, 02:48:50 PM by Stray »
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Reply #194 on: December 04, 2005, 03:17:16 PM

No, I'm lucky to have this recording of it. I think it was originally written somewhere halfway between the two tempos.

Hey, since you have the tab and a reference recording, you can record it yourself, any tempo you like! I'll post the cover on the blog if you do it. :) Think you can do a shredder version?
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Reply #195 on: December 04, 2005, 04:08:03 PM

No, I'm lucky to have this recording of it. I think it was originally written somewhere halfway between the two tempos.

Hey, since you have the tab and a reference recording, you can record it yourself, any tempo you like! I'll post the cover on the blog if you do it. :) Think you can do a shredder version?

Heh. Probably not. I'm a bit of slowhand...With a clanky Fender to boot. I'm sure someone here could though.

I did try messing with that tab last night on my acoustic actually, but ended up getting lost in the possibilities of that capo tuning. I never learned your song, but I did come up with two little things of my own.

A little explanation on "slowhand": I'm lefthanded, but I learned how to play righthanded. It's been 15 years since then, so I doubt I'll ever correct that mistake. In some ways, it may aid me, but my right hand technique, quick fingerpicking especially, isn't all that great. I doubt I could play your song with the same ease as you....And seriously doubt that I could shred it!

I love the loud, racuous, sound of electric guitars and all that, but I've never been much of a shredder. I can if I put my mind to it, I guess, but I'm more from the Neil Young or Richard Thompson school of shredders -- Those who play loud, but try to be as expressive with as little notes as possible ;).
« Last Edit: December 04, 2005, 04:14:09 PM by Stray »
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Reply #196 on: December 04, 2005, 05:53:47 PM

That partial capoing style was taught to me by Don Conoscenti  -- http://www.donconoscenti.com/ -- and I use it a lot. Basically, what it does is make an open strum give you the same intervals as a DADGAD tuning, only up one step. But you can use standard tuning chord shapes above it, to either meld with the modal sound, or if you barre or pluck carefully, come back in with a standard diatonic or chromatic sort of vibe.

I like it because it leads to a lot of really cool open fingerings. Just taking your current standard tuning pieces and playing them in it will open up your ears to some cool modal stuff, without putting you as far afield as actually going to a total alternate tuning.

If you feel adventurous, try moving the capo to 4th fret. If you have a second capo, you can also put it on first wherever you like, then capo with the partial two frets above it.

If you feel totally adventurous and are comfy in DADGAD, tune to DADGAD first, THEN use the partial capo. It's yet another world.

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Reply #197 on: December 04, 2005, 07:16:39 PM

Cool thanks for the tips. I'm going to play around with this for awhile now. I can't believe I've ignored the capo all this time!

DADGAD was the first alternate tuning I ever experimented with I think, but since I started playing with DGDGA#D a few years ago, I've become less comfortable and adventurous with the former. The partial capo sounds great though (while DGDGA#D with partial capoing sounds like shit....So far at least).
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Reply #198 on: December 04, 2005, 10:02:20 PM


The partial capo sounds great though (while DGDGA#D with partial capoing sounds like shit....So far at least).

Well, yeah... for one, you are losing one note out of the harmony since you have those two octave pairs on your low strings. For another, it's effectively DAEAA#D, which is strange. On the 3rd fret you would get more A#s at least (I'd write it as D-Bb-F-Bb-Bb-D, and now you're in Bb major...) Kinda plain.

What sort of stuff do you play in that tuning? It's like Gm power chord central.
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Reply #199 on: December 04, 2005, 11:37:41 PM

Crap. I just had a whole bunch written out, but my browser crashed.

I'd offer a few recordings, by my mics suck. The songs that I have been writing lately are being jotted down on a memo recorder. It doesn't make for quality listening.

Anyways....It varies on what I play. The tuning lends itself to a lot of droning and minor sounds, so I do that a lot. There's sort of a Morrocan/Gypsy feel to my leads (Sorry for the non technical terms. Most of my music training has been intuitive and guitar/fretboard pattern oriented). I already have a liking for that Spanish/Surf/Phrygian? sound in standard tuning, so all of that rubs off here as well.

I also alternate between a tuning with the low D dropped to an even lower C.

Sometimes I'll full capo at the second fret for A minor and play slide (it doesn't sound anything like blues slide though).

Over time, I've stumbled into various chord fingerings and areas that have expanded it's use beyond droning leads. Some of the rhythms I'll strum about on my acoustic just sound like normal folkish or pop songs.

I still play in standard tuning more often than not though...And in that respect, I'm pretty traditional. A little mixo/penta based Rock as well as surf and spaghetti western-ish stuff. Alternate tunings are always an adventure though....Not knowing what the hell I'm exactly doing with them is half the fun ;)
Sky
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Reply #200 on: December 05, 2005, 07:12:22 AM

Bah, I'm crappy at acoustic or I'd give it a shot. Sounds great though (!), wish I could play like that! I'm working some fingerpicking techniques but I get frustrated pretty easily by them.

And to make matters worse, I'm a capotard. I've never used one. And a bit of a tabtard, so even if I wanted to put up a version of it (that'd be a cool exercise as I need to record more!), it'd take me forever to transcribe the notation to something I could use.

The only open tuning I've used, and this only in the last month, has been DADF#AD for my slide playing. I've got one nice tune in the works with that tuning, but without my old writing partner I'm super lazy about progressing things beyond the raw ideas phase. I've got a few dozen song ideas mapped out without any structure ;) I used to write with my singer, I'd pull out the main ideas and as he developed lyrics, they gained structure.

I've put this one piece up before, it's my spanishy jam. Recording quality sucks, because it's through some crappy shareware, and it was a one-off, just jotting an idea down. I want to get a little hard disk recorder for ideas, because using the pc (well, MY pc) is onerous for that kind of thing. I was practicing fingerpicking patterns a couple years ago and laid the first (barely audible for a lot of it) track down. While listening to playback, I was playing the second track, so before the first track was up, I rewound it and laid the second track over it, never went back to fix it up or do an alternate take...but it's all I've got on my work pc besides some crappy shred piece. I don't even know why I'm posting this after Raph posted that nice piece :P

edit: That was on my crappy old electric guitar, I had the EQ and effects set to make it kinda sound like a nylon string acoustic ;)
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Reply #201 on: December 06, 2005, 12:08:56 AM

Hmm, I should put up a produced track, if you like that one so much!

Your spanishy piece sounded good, but I couldn't really hear the backing track, only the lead line. :(

What notation do you use if not tab? Just chord shapes? I notate a lot of pieces first pass with chord shapes like this:

Memorial would go something like...

partial capo at 2nd fret as advised (note the tablature on the site is already capoed at 2nd fret, then partial capoed at 4th fret, so don't let that mess you up).

now, pretending that the partial capo is the nut, your chord forms are:

xxx2x2  (e.g., open strings on the x's, holding the highest string and the string two strings lower at 2 frets above the partial capo)
x2xx2x
x4x2xx
xx2xxx
3xxxx3
2xxxxx
0xxxx0
xxx23x

that should get you the main riff. Obviously, most of those x's are strings that are actually played.

I generally record using a A-T condenser mic in front, a cardioid pointed at the 12th fret or at the amp, plus the pickup running direct, all running into my 4-track (which has a 6 track mixer on it); from there into the Audigy card, into ACID usually. I also have a compressor/limiter I just about never use (it seems so NOISY!). ACID is just very handy for messing about.

My pickup in my main acoustic (which is what you heard in the recording) sucks though. I think that recording is just the mic open air.

Besides my main acoustic (a Blueridge with a neck like a baseball bat, the way I like it) I also have a Baby Taylor, a Mike Kelly mandolin, a mtn dulcimer, a Gibson '62 acoustic that I use for slide, a goofy Star Wars Fernandes electric, and my grandfather's old Harmony uke. Like I said, not an electric gearhead. :)
Sky
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Reply #202 on: December 06, 2005, 06:38:37 AM

No, I use tab...it's just that whole partial capo thing I'm not getting. I don't use capos, and I'm not sure I understand the partial capo concept. I was saying I'd have to transcribe the notation into raw tab, not considering the capo, which might make it impossible to play :P

That spanishy thing was recorded on el cheapo, direct into my asus a7n8x :P Using some shareware I don't like and don't have a manual for, heh. As I mentioned earlier, I really need a little 4 track of some kind for jotting stuff down, I haven't recorded anything in the last year or so!

I used to be a little bit of a gearhead, but it was all stuff that I got very cheaply. I had one of those first gen ART DSPs, but other than that I had about six stomp boxes (ProCo Rat distortion was my favorite, I was into metal in the 80s). My favorite rack gear was a Time Machine or summat, a great 70s echo/reverb unit that was capable of some truly odd stuff, got that one in a deal from a band that was hanging it up (their whole PA system for $1k!). I was playing a pearl BC Rich Bich, a knockoff V, knockoff Strat, a Martin Acoustic (man I wish I still had that), various cheapo guitars for throwing around, and my Peavey Bass. Laney full stack (head + 8x12 loaded with nice celestions) for guitar and an ancient amp (forget the name) and 2x15 for bass.

My current rig is also piecemeal: my SG, as mentioned, Alvarez Jumbo Acoustic, my el cheapo Cort for slide, and my ESP custom bass. Up until this year I only had my bass and el cheapo. A couple years ago I bought a Boss GT6, which is nice enough. I've not found a real comfortable sound on it yet, though, but it's fine for practice. I'm playing guitar through part of my bass rig. When my old band split and certain people absconded with much of the gear (meh, fuckers, it's happened many times to me), a bunch of locals who knew me back when helped me get my shit together, I got a crappy Peavey amp (Mark III Centurion) that I'm putting into a Dean Markley 1x15 cab loaded with a 400W EV full range 15". That's what I'm playing guitar through now, I also have an Ampeg 8x10" that I'm not using because it's a bit much for practice ;) Also, the Mark III doesn't drive it well, need the head for that unit some day, it's sweet. Got the head, the 1x15 and the 8x10 for $200. Got a ubiquitous shure sm57 laying around somewhere, I run that through the GT6 into headphones when I'm in the mood. The list is rounded out by an old beater drumset, it's beat to hell and back, really needs new heads but I hate dropping any money on it. I replaced the footpedal because I broke the cheap old one ;)

Thinking about getting a Fender Twin at some point, but the current setup cuts the mustard ok for just messing around.

/ramble
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Reply #203 on: December 06, 2005, 08:55:23 AM

See, the whole last paragraph just about lost me entirely. :)

I have a Boss ME-50 effects pedal unit, and a Genz-Benz acoustic amp (Shenandoah Jr). That ends my lengthy list of amplified gear.

Oh, and I do have a bass, I forgot to list that, it's a Washburn.

The tab that is there is written as if the capo is not there at all. So if you follow the tab straight, you'll learn the piece in standard tuning. But I bet it'll be a bitch. :) At the very least, capo normally at 2nd fret, or you'll have to try to play the whole thing out of position.

The partial capo concept... well, a regular capo just moves the tuning of the guitar up by as many half-steps as you want depending on what fret you put it on. But a partial capo is like having a third hand that just holds down a chord shape for you, and you play above that chord shape. Imagine if you were in standard tuning in the key of A, and someone held down the regular open A for you down at the 2nd fret, which you noodled aorund up the neck. Every open string you hit will be in tune, because the A is held for you down there.

The particular capoing we're discussing actually gives you an Esus4 as your "base chord" down there.
« Last Edit: December 06, 2005, 11:53:52 AM by Raph »
Sky
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Reply #204 on: December 06, 2005, 09:13:46 AM

Ahh, ok, I understand how you tabbed it now. Capos are still voodoo or mob bosses in my book :P I'd probably play it a whole step low with 2=O, etc. But I can see how the capo is superior in a lot of situations because you can play in standard tuning for the rest of the neck. Just tough wrapping my head around a partial capo, I only think of them as a full bar across the fretboard.

That gear paragraph really just boils down to a few guitars, the Boss GT6 effects unit, an amp head and cabinet. Nothing fancy, I just got rambly talking about it.
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Reply #205 on: December 06, 2005, 10:37:00 AM

I thought that this was a partial capo:

http://media.putfile.com/thumpoff

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Reply #206 on: December 06, 2005, 11:09:04 AM

Heh, I guess you could call it that, but that's "partial" in a different sense. He's just muffling basically.
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Reply #207 on: December 06, 2005, 11:32:19 AM

I know - I was being facetious, and using it as an excuse to post some fabulous Wooten bass. :)

The camera adds a thousand barrels. - Steven Colbert
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Reply #208 on: December 06, 2005, 08:16:18 PM

[edit] Oops. Wrong thread.
« Last Edit: December 06, 2005, 08:18:21 PM by Stray »
Jimbo
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Reply #209 on: December 08, 2005, 04:14:53 AM

I still have my first real guitar that I saved my money from detasiling corn and doing odd jobs.  It is a Gibson Corvus II, still in great shape after all these years.  I'm not sure what happened to my Peavey Decade practice amp...should have gotten the Marshal 10 back in the 80's, but hey I was a rock-n-roll plowboy who dug the country/rock mix.   :-D

I'm glad I didn't add the Kahler aftermarket or Floyd Rose aftermarket tremolos system and I'm really glad I didn't get the Washburn tremolos system that the guitar shop wanted me to get, even if it didn't add any holes to my ax (heck I can't find any information on that unit...it was a big clunky system that mounted in your bridge and had all the cams in there so they didn't have to cut into your body, with a neck locker too...).

Found a pic of what the Corvus I looks like :
http://www.muc.de/~hm/music/Guitars/gibson-corvus-82973530/
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