4 pockets guitar tuner serial

Too flat? Turn the peg away from you to get sharp. Watch these free Fender Play lessons. The way you turn the tuning pegs matters. Find out the best technique for long-lasting tuning in this video. Tuning Tip 1: Start With Standard. These appear on some slightly earlier before the Mosrite takeover Dobro models with and without chrome surrounds.

These were later used on Rosac made Melobars and again in the 70's on Semie's ill fated Sooner guitars, both without pole pieces. All '60's Mosrites had the Ventures style pick up except the ones noted above. Basically the pole piece pickups were used on all the upper tear models including the Combo, Joe Maphis and Celebrity I. Mosrite started making humbuckers from These were the single coil covers with two rows of pole pieces.

One row is drilled through the Mosrite of California embossing. Some neck humbuckers had the poles staggered so all 12 poles lined up with the strings. These are sometimes mistaken for 12 string pickups. The New Mosrite of California guitars had humbuckers with no exposed pole pieces and some of these had the embossed logo painted silver. Mosrite primarily used a segmented snap off magnet originally designed as a commercial "fridge magnet" type material that could be broken to the desired length.

These were essentially simple cast bar magnets. It's unclear what material they were made of exactly but to my ears A3 sounds as close as I can get. Nearly all Mosrite pickups from '63 to '94 have these magnets. Some 70's Mosrites had ceramic bar magnets from new. These were probably in times Semie could not get his beloved segmented magnets.

Early Ventures models had a simple cast black epoxy bobbin with thin clear plastic glued to the top and bottom to form a bobbin. Once production increased these bobbin centres were changed to timber off-cuts from necks with the same thin plastic top and bottom. In the 70's Semie made pickups with air coils using AWG43 wire with the coil, pole piece bar and aluminium attachment bar all being held in place with dental putty.

Both single coils and humbuckers were made in this method. Mosrite used different epoxies and resins to assemble their pick ups over the years.

Earlier pickups 60's used a thin white foam material as a base. All Mosrite pickups have an aluminium adjustment bar with two holes for the height screws pole piece screws were used on each end. This is NOT a certain dating method, but here's an outline. Pickups up until the late 60's mainly used thin black and white lead wires twisted together which sometimes turned into a shielded usually grey 1 or 2 core wire on some 70's pickups, especially humbuckers.

Most standard single coils from the late 70's go back to the thin black and white wires. Wiring can be all over the place and hard to identify as original unless solder joints are untouched.

It's not uncommon to see many different types brands of shielded and non shielded wire from new with brass solid core being used as a common earth on many. Early Joe Maphis single necks have pot dates of but these pots weren't used until later. The pots in Joe Maphis serial number first owned by Gene Moles are dated and a large proportion of the pots in the first Ventures models are dated and and the most common which ran well into the serial number 's made in August ' The first 3 digits - CentraLab are the manufacturer, the next 2 are the year e.

Because production was at an all time high between '65 and '68, pot dates are a fairly accurate way of dating your Mosrite unless they've been replaced.

Early 70's Mosrites also used some CTS EIA source-date code stamp pots and some l ater Mosrites 's also used unknown brand 6 digit pots, some with plastic shafts.

Some early 70's Mosrites used Japanese pots and generic knobs that can not be dated. Some 80's Mosrites had DiMarzio pots. Vibratos and bridges. Mosrite used 2 main types of vibratos units both based on the same concept. The early models had a cast aluminium unit called a Vibramute. These were designed and manufactured by Semie for Guild and early Mosrites have the Guild writing ground off the black part that later had Mosrite of California written on it.

These were attached to the body with 6 screws and had a cast bridge similar to the ones used by Bigsby with a muting mechanism attached to the front pick up side These only appeared on the Joe Maphis and very early Ventures models.

The Vibramute that followed was plated cast brass to speed up manufacturing and some people insist these sound better than the Moseley unit that followed due to it's denser construction.

These had the aforementioned Mosrite of California and Vibramute cast into them and were paired with the now famous Mosrite roller bridge. This was developed to aid in tuning problems caused by the cast bridge.

In the vibrato unit was changed to the Moseley unit. Essentially the same unit, it now has Moseley written behind the tailpiece where the strings anchor instead of Vibramute.

These were die cast alloy and chrome plated. In late '66 the Moseley vibrato got a patent number 3,, added to the back near the Moseley. Also available through the '60's on semi acoustics was the "half trem" which was essentially a Moseley unit without the flat plate to fix the bridge to the unit, to accommodate the curved top. It looks like the back half of a Moseley unit. This was commonly available on some Combos and Celebrity models.

This version moves the vibrato further away from the bridge which can sound really nice on some models. Semi acoustics were also available with trapeze tailpieces in 6 and 12 string versions. Most 12 string guitars had a hard tailpiece that was the same design as the basses used.

It was a piece of angle aluminium or stainless steel with a piece of lacquered dark hard timber inset into it and screwed directly to the body with 3 screws. Later '70's Mosrites used this design a lot and sizes vary from year to year. Later models seem to have smaller ones. The early Mk II Ventures models had another completely different and unique vibrato unit again. The pivot tailpiece is only held to the base with string tension. The initial version has a flat top pivot plate which was changed to a rolled edge plate for the second run.

Early roller bridges were made out of folded brass plates and 6 individual saddles each with it's own roller. The earliest ones had a flat base with 3 different height saddles to accommodate the fretboard radius which changed to a curved base with 6 identical saddles in ' These have shown up on higher end Mosrites from time to time.

Early bridges from late '63 had height adjustment posts with tall slotted posts above the bridge which was reduced in height from early ' In the 80's these adjustment posts got nuts on top to hold the bridge down.

Semie was making another bridge late in the 80's that had a steel bar that tied the saddle adjustment screws down to the base plate to stop the saddles rattling although they were not widely used and may have been a small run of units to test his new idea. These had rollers that could be used for 6 or 12 string guitars.

There was also a Vibramute vibrato with "Semie Moseley" with the M cast into the part that usually says Mosrite of California on some models around this time. The V88 and other late 80's guitars was offered with a hard tailpiece that looked like a Moseley unit but without the pivot or arm It's a beautiful tailpiece and the Brassrail and some SM models had a hard tailpiece that was a flat aluminium plate with a half rounded anchor to hold the strings.

These are both fairly rare as well. These will fit most Japanese vibratos too. Tuners, strap buttons, neck plates and switch tip. Mosrite mainly used Kluson tuners and these were one of the only pieces of hardware not made "in house" for their guitars. Ventures and the more expensive models used Kluson SAFETI deluxe single ' or double ' line tuners with metal oval shaped buttons. In the late '60's Mosrites started turning up with a very strange tuner that had a diamond shaped angular closed gear housing.

These were made by Gotoh in Japan and rarely turn up on other guitars from the period. Semie owed money to Kluson and Grover and had to source tuners from offshore for the first time. These were made for Mosrite and were made of a light and brittle alloy which over time has proven to be unreliable.

They do look great though. Some '70's Mosrites like the Bluesbender and Brassrails and later 80's models came out standard with Grover or Schaller tuners. This was probably due to Semie not being able to get Klusons. Strap buttons were made in house as well and feature two lines of rings around the body of the button that matches the early knobs and switch tip which is a plated brass tip with the same two lines running around the tip. Early Joe Maphis and Ventures models have the original Switchcraft long black plastic switch tip like some Rickenbackers which is used again on some 70's models.

Early neck plates were a peanut shaped metal plate held on with 4 small screws covering the 4 neck screws. In late '64 the neck screws were run through the same shaped plate like Fender.

The slab body Mk II had a similar square plate covering the neck screws. Most hollowbody and some late 60's and early 70's Ventures had ferrules in the body for uncovered neck screws. In the late 80's there was a cast peanut shaped plate with Semie Moseley and the M cast into it. Most production Mosrite bodies are made from basswood with the exception of a small run of Ventures models in late '64 made of a light mahogany that Semie bought cheap.

These guitars tended to have a smooth German carve transition. Combo versions were hollowed out carve top and back glued together a la Rickenbacker as was the Joe Maphis 60's single neck which was a thick spruce top with a walnut back. Semie experimented with some exotic timbers like wenge in the 70's but no big runs were made.

German carves varied over the years and you can sometimes tell a year by the carve, especially on the bottom horn. Body thicknesses varied also with late 60's Mk Is getting thinner before the close-down and 70's MK Is being thicker than any 60's version. Celebrity bodies were laminated maple tops, backs and sides made by Hofner also made as a Hofner and Ovation Tornado circa '67 to early 70's in Germany. Bodies were shipped in parts top, sides and back in several different side depths and binding appointments.

All Celebrity guitars and basses had necks made by Mosrite with different binding and headstock shape options depending on the model. Early versions have a larger hand bound F hole with later smaller F hole versions having a 1 piece "plug in" binding. Gospel guitars used the same body as the Celebrity I. Early hollow bodies had a smaller orange label with "Style" and "Serial number" positions with typed in details.

Later labels were slightly bigger with the same details and thicker black border. Labels were hand cut oval shape and glued into the top F hole or sound hole on acoustics.

Early Ventures models were available in sunburst and red only although custom colours were quickly introduced with pearl white, black and blue being popular. Bill Gruggett was in charge of painting and would check bodies for grain before deciding what colours were used.

Nice grain bodies were kept for sunburst, which had an enhanced base coat to make the yellow really pop. The rest were painted with a white sealer for opaque colours. Metallic colours like reds and blues had a metallic gold or later sometimes silver base coat before the top colour coat. Pearl whites were mixed by Bill and varied over the years. Most production guitars got up to 12 coats of hand rubbed lacquer which resulted in a lustrous finish which over time checks cracks badly under certain circumstances.

Around the end of '65 Semie changed paint suppliers and started buying large drums of paint possibly from PPG which was a thinner lacquer. The mid 60's catalogues list both standard and available custom colours for additional charge but you could request any colour that was available at a nominal fee including metal flake. Necks and scale length. Mosrite lists all their guitars as having Slightly shorter than Gibson, the same as most Gretsch guitars.

Although most Mosrite guitars had the All through the '60's the necks were thin in both depth and width and these are the necks that Mosrites are usually associated with. By the late 60's necks were getting slightly thicker bodies were getting slightly thinner The early 70's necks are generally wider and thinner than the early necks and use slightly larger frets while later 70's were slightly more substantial. The '80's reissues have thinner necks again but with wider fretboards than the original '60's models.

Most Mosrites had bound necks. Mosrite were also working on a couple of cheaper Ventures shaped models without a German carve and no neck binding when they shut down in ' Mosrite primarily used small dot markers in a rosewood fretboard on most models with 2 at the 3rd, 5th, 7th and 9th and 3 at the 12th with one thereafter. Some later 80's guitars had a maple fretboard. Bass guitars had a Neck characteristics are the same as the guitar necks. The octave necks on double necks were generally 14" scale.

Necks were glued in up until just after serial and then bolted on with 4 countersunk neck screws covered by a peanut shaped chrome metal plate covering the neck screws. At about serial this method is changed for the standard 4 neck screws through the peanut shaped plate. See above. Trussrods for both guitars and basses were made in house and were based on the Rickenbacker rod with a piece of mild steel bent back on itself with a slightly longer section with a threaded end. A washer and nut is fitted to this threaded part which puts tension on the shorter piece making it bend.

Trussrods were fitted after the fretboard and can be removed without removing the board. Both round and flat steel was used. Necks with headstock adjustment have the trussrod channel running all the way through to the heel end. Headstocks, like bodies, varied in shape and thickness slightly over the years but all "generally" had the 3 a side "narrow Ric" shape with an "M" cut into the end.

Early "pre Bakersfield" headstocks were mainly 6 a side with 2 x sets of 3 a side tuners with a gap between the D and G strings. By '64 Mosrite headstocks were pretty consistent with either a flat on cheaper models or slightly angled back headstock tapering off in thickness with either an angled or flat "M" cut into the end with 3 a side tuners. Some special or custom guitars had unique shapes. Mosrite always screen printed their logos on and logos changed in size and design over the years.

The original Ventures model had large logos with a very blocky typeface. In mid '64 this changed to similar size but much finer typeface and in late 64 around serial it changed again to smaller logos. Headstock logos throughout the 70's's changed in size and typeface many times. Mosrite water-slide decals like most brands have been available online for some time but were never used by Mosrite. Mosrite one offs, custom orders and related. Mosrite and Semie Moseley especially made so many one offs and custom orders it is almost impossible to list them accurately.

I still come across "new" Mosrites that I haven't seen before and there are literally 's more of them out there. The first two digits are the year, and the next 7 digits are the serial number. As always, use our decoder to find out the guitar in question. The first two digits are the year, the last digit specifies the type of guitar.

At this time we have scattered information regarding CS Custom Shop serial coding. The closest most notable information is as follows. Serials beginning with CS05 are from Memphis CS15 is At this point it is still unclear what the CS10 number is. Some important information will be printed or embossed as usual on the rear of the headstock or inside the body on a label. These particular models do not have serial numbers on the back of the headstock.

Limited edition Gibsons such as the serial number PAGE xxx, are signature guitars from great players over the years. Here are more. As always, pop them into the decoder for a clearer idea of the legendary player in question. Lee has been playing guitar for over 25 years. In the s he made a few TV appearances in London and supported and few big bands at festivals.

Lee is the founder of Authority Guitar , a site where he wants readers to enjoy every aspect of learning the guitar. I had never really thought about the fact that the head stock says deluxe but the truss rod cover and the rest of the body is a standard. The luthier that changed out the pickups a few years ago of course I still have the originals thought that it must have been routed out for standard pickups until he noticed the overspray in the holes and verified it was built like this originally.

Has anyone ever come across this before? Yes, they did do one-offs of Deluxes with full-size routes, until when the Standard was available as a special order? How can I authenticate its Gibson pedigree? Too many for me to mention here but check out the manufacturers site. And obviously give Gibson a call to check its not a fake with serial number and sizes.

I have been offered a Gibson B with Bigsby. It sounds great and plays really smooth. However tuners are too new to be from that time. Serial number is How can I tell what type of Les Paul I have. I do not know if it is an Artist or Studio lite. The fact is that the total tension of the guitar neck changes if the tension of an individual string is greatly changed. For example, if you tuned the first string, but the others were not very tight, then after setting up all the strings, the first one will be "below" the required level.

The analysis of the frequency of sound will allow you to fine-tune each string. The tuning quality strongly depends on the frequency response of the microphone, from external noise. Guitar requires periodic tuning.