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Post by sydsbluesky1 on Aug 31, 2019 19:41:19 GMT -5
Hey, thanks. Feels nice to check in from time to time.
At that thickness of your epoxy, the thing may well be ironclad. One coat or multiple? I'm imagining that stuff shows a mean witness line around any sand-through that get into the previous coat. Hm.
Good stuff. Curious to see how it holds up over time.
Jesse
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Post by sydsbluesky1 on Aug 28, 2019 0:14:55 GMT -5
I'll order my reply in the order of least useful to most useful... like a modern day freelance internet journalist. xD
I would add that you would want to mind the break angle of your strings on the back (pin side) edge of the saddle, whatever you do.
If you want to cut it deeper, this is actually something I've done a few times while making slots in replacement bridges. The initial slot is made with a jig of some kind, and then you can remove the jig and deepen it free hand if you are careful. This is actually a pretty normal process by which small guitar builders and just about every repair person I know cut their saddle slots. With your initial slot already present, it would be doable with only a steady hand and a robust constitution.
But don't do this.
Deepening the slot doesn't accomplish you anything. The nut is there, in the most simplified version of the system, to transfer the energy of your string to the bridge > the top. Nothing in the guitar adds any tone. Things are basically there to transfer energy - a bridge plate; to impede energy - a neck; or resonate with energy - the top, all while frantically holding the thing together at the edge of Isaac Newton's peripheral vision.
A gentleman in my company once pondered the prospect of "adding tone" by going from a plastic nut to a bone nut. A few lovely beverages and perfectly legal combustibles later, he set sail upon the idea of grinding cow bones into dust and mixing it with shellac to use as grain filler for his mahagony backed and sided acoustic guitar project. That's called a highdea, I think.
Paul Reed Smith has a wonderful Ted Talk about this general concept, actually. Easily searchable, and very worth a watch.
Jesse
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Post by sydsbluesky1 on Aug 27, 2019 23:46:15 GMT -5
Nutz way?
Set up some guides and use a plunge router to route a few straight channels into the back of the guitar, the exact external dimensions of a carbon fiber truss rod such as are sold many places across the web, just to either side of the intended hole from the neck to the middle of the body a bit past the bridge. Inset rod. Do a clean enough job, and you can clear coat over them and have a pretty industrial looking structural element. You can glue them in with something as simple as a medium weight super glue (thick will trap bubbles and thin will make a mess). That's assuming the body would even move... CA (super glue) has a notoriously weak shear resistance, but as long as you are adding rigidity you may as well do it right. The rods will be mostly resisting a pull along their grain structure in this function. Or use... epoxy. Hard to get smooth, either way.
Carbon fiber is even resonant! Don't use Kevlar. It's an energy sink, say people I tend to believe. Removing that much material is very unlikely to make much appreciable difference in the guitar itself, but the rods... may? That Rob Chapman guy from the Andertons videos might hear it, but I don't think any mere mortal would. We're not talking shaving down a LP to be an SG, or anything.
An acoustic guitar top under 0.100" can hold a set of mediums along the grain for 30 years (the bracing is for cross grain rigidity not long grain rigidity) before it starts to give way to physics. That body is probably two or three pieces...?! If your guitar doesn't have the structural integrity along the grain of that much wood to resist those Drop B# suspension bridge cables all the kids are using these days, then, well... I'll eat my damn hat. xD
You could blast the thing into space and it'll be in tune when the inevitable squid people pluck it from the aether along with Elon Musk's Roadster. On that note, it might be mannerly to send an amp.
But I've been wrong before!
Jesse
EDIT: Oh! You could always get a Kemper! lol
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Post by sydsbluesky1 on Aug 27, 2019 23:04:02 GMT -5
I love the conversion! I have a few thoughts on the durability issue, but I'd be curious about the brands of poly and epoxy you used and how thick they ended up being. Not all of that waterbased stuff is created equal.
I'd expect the epoxy to be a more durable top surface, but being fretless I'm expecting you are going for a certain feel as much as any other qualities.
If you do have issues in the future, you can probably try to french polish super glue onto whatever surface you have on top. It's harder than that scummy old lacquer Fender used/uses, and is terrifically easy to touch up without the frets impeding your work. I don't know how it compares to the high end spray on poly we use at Bourgeois, but it would be a cool thing to find out at work tomorrow.Doesn't feel half bad, either. Dan Erlewine used the StewMac (I don't know the brand StewMac uses) 10/Thin regularly on vintage maple fretboard repairs. It doesn't make the natural wood look gray the way it does when mixed with maple dust. Usually we would do it before the frets were reinserted, but with the frets yonder driven forevermore, it would be as casual a task as spending an afternoon taping off the board and ruining an old white cotton tee shirt.
Treat it the same as a traditional French Polish, but the glue will grab onto the pad even more quickly than shellac. Keep it moving, and practice on something you value in life very little. Possibly on your bandmates guitars.
Or go the true Nutz way and get a vacuum bag for skateboard deck construction from Rock West and epoxy impregnate it... Hrm... Now my mind has gone on a wander...
With any luck the poly is tough enough you don't even need to worry. With the epoxy behind it, I expect it will abrade off rather than collapse under normal play. Worst case, sand it off and just slop on more epoxy?
I also think the neck looks fine on the off white. I'm an unwashed heathen when it comes to most of that stuff, though. Always intuitively liked maple on the solid colors and my bursts with darker boards.
Jesse
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Post by sydsbluesky1 on Sept 14, 2018 22:15:33 GMT -5
I haven't been around, and for this I apologize! I have finished at Galloup, and have (for the moment) transitioned to Dan Erlewine's shop along with his other two employees.
Warning... guitar pr0n incoming. Let's go in some sort of order... More strings > fewer strings, today. Bandura. Has what looks like water damage, with strings that have rusted through and snapped. Some of those mosaic tile pieces need to be replicated and replaced. That's something that'll be happening in the next few weeks. It came in the most impressive case I have ever seen for anything in my life. It's over six feet long and 27 inches wide. It's nice to look at, but ends up a bit muddy! Indistinct low end, no clarity whatsoever. Even with just single notes. 1952, btw.
Gibson harp guitar. 1920ish. A top crack, and some de-lamination in the harp side headstock. Nothing muddy here! It sounds clear and distinct, like a piano. One of the best looking instruments with which I've ever shared a space, and one of the best sounding as well. Unbraced back. Maple? Barely braced top. The top is in the realm of 0.200". Both arched. A heavy mother, but what a glorious beast. That sunburst is to die for. You can see the crack fix on the top if you look below the tailpiece for the harp set. That's as good as it gets without spraying lacquer.
Down to six strings. In theory. A 1900ish New York Martin. It's apart, but it's somewhat clean. I've never seen Brazilian rosewood look quite this casually good. I don't know if it's been refinished or not, and I didn't get a picture of the finished side anyway... it's lovely stuff. This is a longer term project, and may or may not slide onto my bench at some point soon. Those sides are just sitting on the top, and the endblock is totally detached. It'll be a fun restore.
Two strings! A beautiful 1960 Gretsch (that's 2 tone green. I've been calling it refrigerator) in for the... every problem known to man. Which, according to Dan, is standard for Gretsch of all years. Even original ownership mad in USA pre-baldwin etc etc etc ET CETERA. All of them. Every single one. But wow do I love this guitar! In for a neck reset and... well, just a... make it play right. And when I pulled off the neck, I see the second picture. The worst French dovetail I have ever seen in my life. But you know what they say about Mondays... (It may not be obvious from the picture, that that blue ink says MONDAY.) Don't worry. I can see why they all used screws through the heel into the headblock. Dan had me put one back in just for giggles when I was done with it. Tone screw.
No strings. Washburn issued a 120th or so anniversary model a bit back, and this is the guitar on which that was based. It's in fantastic shape, but someone did a neck reset and overset the neck. So hopefully that hits my bench soon. (There are about 70 guitars in Dan's shop and only three full time people...) Bonus. 1941 D-45. I got to use my chisels on the tenon briefly, but Dan is mostly doing this himself. I can't wait for him to get the damn neck back on so I can play it!
There are a ton of beautiful guitars in this shop, and I forget to take pictures of most of them. My two favorite guitars in the shop aren't even in this post, but I'll try to remember to get that this weekend.
I'll also be shielding a LOVELY little pink strat in the next issue of the Stewmac magazine. Which, spoiled it, is going to be coming back! Give it a month or two. It goes to the printers in a few days or so. I fully credit the guitarnutz community with teaching me how to shield, as I didn't learn that at either Galloup or Dan's. <3
Cheers!
Jesse
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Post by sydsbluesky1 on Apr 22, 2018 1:32:46 GMT -5
And don't get me started on how my cat came to be named Gibson!
I'm super ready for this story.
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Post by sydsbluesky1 on Apr 22, 2018 1:24:20 GMT -5
I was stuck finish sanding an ebony bridge today, so I had to give Dan a rain check. Imagine that... me... telling Dan Erlewine No!... to a day of him showing me his favorite fishing spots. I died a little inside, but I knew he would respect me more for doing the sanding right. Got to play a 1931 Martin... that was nice! Exploded with sound. You could feel the back screaming against your abdomen with energy. Punchy, loud, and no frequency was underrepresented. I don't like "vintage" (unless it's MIJ 60s!) but I was impressed. Water is high anyway. Only scouting this trip. I'm going to call him tomorrow around noon and see what happens... I promise stories and pictures! I asked him what he thought about the Gibson deal. His immediate reply was that it was bad for the culture of guitar and music as a whole, but that it was fantastic for budding luthiers such as myself. I made the argument of craft beer to him, as I presented it here. He agreed with me, and replied that it might not be that bad after all. I offered that someone like Cort might buy the brand, and he said it was possible to likely. I finished sanded with twice the commitment after this. His presence inspired me. Me personal guess is that no matter what happens, the brand will continue on in some manner. The highly flammable Heritage shop comes to mind. The tradition of the Gibson brand will never die; it is already long immortalized. We already have the Gibson ripoffs... maybe whoever takes charge of the Church of Gibson after this actually decides to build with some hint of quality and gives people a high quality counterpoint to the omnipresent junk! That would be nice. I'm not so sure the value of your guitar will drop if Gibson goes belly-up. It might do so in the short-term but in the longer term someone focused on name-value might be willing to pay more if they can't buy a new one. Hard to say, really. Half is an increase not a decrease... Mine is in a fair bit less than "Good" condition due to wear and tear! ...And ideas I got here. Nice to be back, guys. Didn't we have an acoustic area once upon a time? Something about beer can holders. I'm more useful to the forum if we have an acoustic area. I have added my facebook to my sig, but most of the old stuff is from when I was 16. Ignore that if it bothers you to look at bird nests that only use red wire.
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Post by sydsbluesky1 on Apr 21, 2018 0:24:06 GMT -5
Oh... also... I'm supposed to go fishing this weekend with Dan Erlewine (I'm so nervous. I've fished 1292472394 times in my life, and I still Youtube'd how to tie the knots I already knew). He came to the school to talk about a black walnut flying V he made for a guy you prolly all know... and he asked for questions. I asked him about fishing instead of guitars. One thing leads to another! Anyway, I'll ask him what he thinks about the entire Gibson affair. And hopefully post pictures? Going for Walleye I think?. They will be on Facebook (I'll add it to my profile stuff) if I can't figure out the cell phone proboards thing. With a few good Dan Erlewine stories.
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Post by sydsbluesky1 on Apr 21, 2018 0:10:37 GMT -5
My angle is that of a homebrewer and luthier. Here, I will first go for beer.
Sales of the Big Boys have decreased... generally, across the two disciplines (I read articles about beer being dead ten years ago...Hm). But ten years ago I couldn't go to a town without a post office and get a beer of which my father had never heard. Today? I can! The decline of the big boys means room for the little boys to blossom. This is my thinking.
I know I haven't been around much! And for this I apologize sincerely. My current status is that I am in the middleish part of a Master Course (6 month... I 've been gone like ten times that, I know!) stay at Galloup School of Guitars Etc. Toss the degrees! This is what I'm going to do, and this is what my teachers do.
Guess what?
They all herald the end of Gibson as not harbinger of sorrow, but of sunshine. The end (purchase) of Heritage, too. Don't get me started on what they say about Heritage.......... One word. Fire? That'll do... Times four.
But I'm not here for the hearsay; I agree with them. Gibson has made a crap product for more years than should've been sustainable. I have a 2004 Les Paul Deluxe, and the thing can't hold up to my knock off cheap arse H-H ESP guitar of the same year(vintage!).
All bluster. No Mojo.
The sooner Gibson is gone, the sooner A.) that piece of crap guitar I have is worth half as much as I paid for it. B.) the sooner the smaller players in the market can scramble to contest for the vacuum Gibson leaves behind.
This is the best news any luthier has gotten since July 1st 1975. Yes, that is sincere.
Jesse
Hi, guys!
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Post by sydsbluesky1 on Apr 9, 2017 0:01:38 GMT -5
As promised! This is likely something you considered and dismissed, but I did already fully describe it as random brain garbage. Here goes. Inspired by a guitar used by Omar Rodríguez-López live for a number of years, which had a single coil size stacked HB (Duncan, I think) at the bridge. I remember hearing, or perhaps realizing, someplace you have a proclivity for bridge pups over other options. I happen to have some blak plastic EMG active pups installed into a homebrew strat style (Work In Progress) guitar, so I did some fiddling. Lowering the bridge pickup to the level of the pickguard does indeed provide a totally usable sound. In fact, I believe it's very common practice to have at least the middle pups kept down flush anyway, is it not? I know I tend to hit them if I don't have them very low. Alas, I see you have a Lace Alumitone, so that particular thought might not be so useful. Very cool look to that pup, and surely not plastic... Especially not Mint Green plastic! Anyway, so much for that. But I wonder if a single sheet out of a multiply Mint Green pickguard could be delicately (tediously) cut for, glued to, scraped to fit and rest peacefully atop. It would only give you an extra -2mm or so, and I have absolutely no idea how those alumitones hold up under normal conditions let alone with distance. Add to that the active electronics! I got a perfectly reasonable volume out of my Bridge position EMG SA when flush. This having been said, I know my Duncan actives want to be a little closer to the strings that my Duncan passives, and this seems to be standard. A higher output passive pup might do just fine. Anyway, that's my random thought. ... But now I have a new thought! Was the Alumitone selection motivated by a desire to pair it with this particular project? Or was it just sitting around without a home when you were in planning? If it was paired intentionally, what was the thought process behind that? I see in the above posted video that the lad mentions higher output than a standard pup. Also the acoustic tones... Yum. I'm a huge fan of piezo paired with some mag and blended up, personally. Is the approach for this project an acoustic electric sound? Anyway, that's all. I'm not even sorry about the Threadromancy.
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Post by sydsbluesky1 on Apr 7, 2017 2:37:16 GMT -5
A peek inside would set me back 5300 USD and... well, we've all shipped things from Asia.......................................................
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This long and untimely pause reminds me of the time I ordered that awesome and thoughtful 3rd of May gift for my girlfriend.
Anyway, I've turned a bit more earth on the politely offered up identification letters and numbers of the middle pup, but I can't get any further specs. Seems to be custom shop fodder, and have absolutely no applicable value whatsoever. I haven't a single hint as to the number of coils under the hood. Le Sigh. At least "Tap" and "Cut" seem to be somewhat synonymous in the parlance of our modern guitar vernacular, so that was my guess as well on the "Tap" issue. Doesn't really solve anything, though. More means we three agree to be unsure in unity!
As for Rear Direct, blower could do it.
Actually, that made me think of a thing. Newey, I am going to post a random brain garbage in your stealth strat thread. I'm sure it's years old by now... and hopefully built! But Time is my mistress, and Time does as I please!
When it wants to.
I will keep digging around on the Diata thing, but my mid evening bathroom break was clearly shipped from China.
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Post by sydsbluesky1 on Apr 6, 2017 15:13:44 GMT -5
What's 7 years between friends, right? As I look in new light at the prospect of finally wrapping up this project (6 years with no workspace... give a guy a break xD) I realize that all my circa 2010 indecision on the wiring has been resolved for me! Because now Daita, Dave's guitar hero, has a custom guitar line! How scandalously convenient... I have a SD sh 2n, some DiMarzio velvet thing, and a SD JB bridge pup. Getting the single coil DiMarzio routed out and installed is no biggie, but I've never wired a H-S-H config before. I tread not this soil without a guide, however, as that link happens to have a fairly detailed description of the instrument specs. I have some mild confusion around the part of the page where it talks about the controls. Control Master Volume (CTS Custom B500 ) Tone (CTS Custom A500) Rear Direct SW (Phase?)Pickup Select SW (tap-off-on) There's an image provided that shows the three three-position toggles, but this "Rear Direct SW" has me guessing. It's located where I would expect a 3 way toggle or a 5 way blade. Further, I'm not 100% sure the wiring of these three three-position toggles. H-S-H config with three "tap" settings? I haven't been under the hood on anything in a while, so there's undoubtedly some brain rust involved. This image seems to explain things quite thoroughly, though it doesn't seem to want to translate. I do happen to know a banjo playing, Japanese/English translating, music festival hosting, overall mighty fine lad through the family, but I figured I'd let you guys take a look at it first in case it's something exceedingly obvious my brain is simply refusing to comprehend. 1. For the moment I'm willing to assume the Rear Direct means Phase. Does this sound right? 2. Is that middle SC actually a SC or a sneaky HB?
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Post by sydsbluesky1 on Mar 11, 2017 17:45:25 GMT -5
There are newer painting processes for metal finishes that custom car guys are using these days. No need to acid-bath parts and have them re-chromed, you just paint on the chrome finish. The stuff looks amazingly realistic, done properly you can't tell it's paint. Not just chrome, either- all types of metal finishes are available. Looks like the guy at Crimson used that sort of thing on the back of the guitar, then distressed it out. So you might want to look into that before you go the plating route. Yeah, I've surfed pintrest a bit and come across some nifty metal paints that would leave some change after a 20 dollar bill. Meanwhile, I have all the stuff to electroplate sitting around the garage! I decided to nickle on the aluminum first, which is a massive bother... and took hours... but worked! Things went South with the copper coat, likely due to my source of copper being less than pure. Looked like heavily tarnished silver right out of the bath. I didn't feel like making more nickle acetate, and I wasn't all that enthused with copper anyway; the path of copper would require me to do a loooot of plating! I hit it with the black paint and called it a day. Interesting little proof of concept.
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Post by sydsbluesky1 on Mar 11, 2017 0:54:09 GMT -5
No slouch, then! I'd hope. Feelings on parallel, Mr. Westinghouse?
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Post by sydsbluesky1 on Mar 11, 2017 0:32:08 GMT -5
Hey, my emote was important! You know full well I consider the myth of electrical guitar tonewood busted! Jokes aside, I guess it would save on shielding tape? Okay, jokes were only half aside. Those guitars looks pretty outstanding, though. I want need a Duane Denison Chessie at some point in my life. Bet they collect fingerprints the way we collect strat clones. I've toyed with the idea of using some conductive spray type of business and copper plating an entire guitar body for giggles. I have a control plate cavity, truss rod cover, and maybe a hard tail bridge I'm going to electro copper plate tomorrow as my test run... yeah, for that 7 year old Ibanez project. I'll use some patina agent on it to get away from that high maintenance sheen... if I happen to accomplish it in the first place. EDIT: They really need someone to edit their website... SBS Pet Peeve Alert...
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Post by sydsbluesky1 on Mar 11, 2017 0:08:28 GMT -5
Ah, right! I failed to understand the reasoning behind the current thinking. My bad. However, if the proper (ly hum canceling) coils are wired into the setup... uh-oh, I just had a nutz idea... Switch(s) to cut them all in as few-a-moves as possible, and then a series of switches to turn it into a nutzd up stratocaster? Sorry... I had a moment... Anyway, It could be wired to have as effective a hum canceling series of combinations as possible with something simple(xD) and then use those push-pulls for parallel rather than coil selection. I could easily be mistaken, but as for hum canceling combos, the standard strat setup with 2 and 4 is there, and additional wiring only gives us B+N? A Neck On or Bridge On could handle such a task, if I'm not severely wrong (it's been known to happen). I just have a difficult time seeing this playing out without intra-pup parallel. Inter-pup series can honestly toss off; it sounds like spaghetti with dungsauce. Wait, we don't have a 5 pos switch, do we... I don't want to be that guy who comes in at the 11th hour and starts to second guess set plans, but nothing here seems set. It seems that the spirit of the thread is Dink wanting to get as much as possible... Hey, Dink, this might be a good time to ask how much experience you have with guitar wiring / reading diagrams and schematics!
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Post by sydsbluesky1 on Mar 10, 2017 22:36:46 GMT -5
www.youtube.com/channel/UCdD1Cqxr8aINzWs1agg3tEQIt is full of guitar related things, recorded by the master luthier of Crimson Guitars, an English custom shop. May need some digging, since they have such an overwhelming pile of content, but I found no fewer than 6 top to bottom refret/level/crowns done by a guy who makes 5 thousand dollar guitars for a living. They even have what I found to be a very interesting series of videos where they take a 100dollarish guitar kit (we all have one, face it) and turn it into a top end instrument over a course of maybe 2 YouTube hours. The channel is geared to people like us, and it's worth a look! (Brace yourself for tool envy...) Blam.
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Post by sydsbluesky1 on Mar 10, 2017 22:31:52 GMT -5
So I was browsing the interwebs and stumbled upon a delightful YouTube channel for Crimson Guitars. Basically, the guy is a luthier who owns a custom shop in BritLand, and he makes weekly YouTube vids. Anyway, he has a thing with copper guitars. (I can't find the one where he talk about construction, but he isn't... overly specific anyway) Essentially he's making semihollows with copper tops, as well as copper leaf plating other guitars. Thoughts on metal guitars? Any electrical concerns? Tone issues? Is copper a good tonewood, etc? I'll throw a link up onto the reference section, because they have very good videos of them doing specific things with maintenance and repair.
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Post by sydsbluesky1 on Mar 10, 2017 22:01:04 GMT -5
Firstly, The only real issue I see with this is that, given the 3 tone controls and the master volume, you will experience some interaction of the tone controls when you have more than one pickup selected. There's really no way around this given your stated parameters, but it shouldn't be a deal-breaker anyway. Guys who play 3-knob Flying Vs, Explorers, etc. deal with this and don't seem to mind it too much. Can't see it being too bad in the studio, as if you're recording you're just going to go back and fiddle all the knobs anyway between cuts rather than trying to flip a toggle and go. Secondly, Heya, Dink! Welcome to NutzHaus! On to point, I can't help but wonder if there might be more value in putting those Hummers into parallel than selecting which coil is active during coil cut mode... but that was almost an excuse to reply. I really just wanted to say hi, and to marvel at how awesome the core of this community continues to be! I did say almost, right? xD. If you want as many tones as possible, and you explicitly state this is the case, there is potentially significant value in going for intra-bucker parallel. Fair warning, you may be and I may have missed it. I have followed the thread, but reading is hard! I have never personally toggled the specific coil to be cut when cutting coils on humbuckers, so I don't know how much it matters. I would suspect it adds less versatility than an option to go parallel. Parallel is often compared to a coil cut sound, but with the hum still bucked, after all. If you're only recording, the 60 cycle may matter very little what with the kids and their walking on sumgai's lawn and their digital hoolahoops these days. Personally, I rarely cut humbucker coils anymore, since I'm not as much a fan of wiring up the bird nests as some of the lads and lasses (we have a lass or two, right?) we have around this place are. I prefer to go parallel when I have the option of one or the other, though that's just my personal mileage with it. From your basic mission statement of maximum tones, a little of each seems better. In My Opinion. P.S. I would never wire a humbucker into a guitar without the option to go parallel! And wait.... no 6 coils in series mode? Like sumgai says, we're still in simple mode!
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Post by sydsbluesky1 on Feb 28, 2017 18:34:25 GMT -5
Three high rez photos here, so I'll put them in a spoiler curtain. Pictures of my favorite chair at no additional cost! The body, as is likely pictured in this thread, was glossy silver on basswood. A few days ago I decided to get tribal on it and started with the chemical stripper and torches. About ten rounds of stripper and scraper later, what we have is a very fashionable faux cement/Venetian plaster appearance, which I, frankly, find to be just about the most beautiful guitar I've ever seen. That's the state of things so far. The electronics are being delivered from Michigan, so ignore all that stuff. That EMG-HZ is out of my first electric guitar, and is complete with the date of manufacture on the back. 2003 is half way to vintage, right? Speaking of vintage, until my nut arrives from Amazon, my stunt-nut (neck has been without tension for 6 years) is, drum roll, please, a bamboo chop stick my dad lifted after dinner in the Philippines while he was stationed there in the Navy during the final days of Vietnam. I'm sure that at least counts as vintage! Action is slightly higher than my ESP MH-200 (my Holy Standard) and right about the same as the Gibson LP. Sounds amazing, too... for a hard rock/metal sound... with a nice amp... keeping in mind the chop sticks. Gotta love chop sticks.
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Post by sydsbluesky1 on Feb 28, 2017 3:11:11 GMT -5
Placeholder post to remind me to reclaim and update my thread!
In matters of the guitar finish/repair/strip issue, the issue over which the project was abandoned many years ago, I was unable to fix the damage. I went on to identify beyond even optimistic doubt the body of the guitar to be... basswood... with grain that could teach graphing paper a thing or two about sticking to the straight and narrow. But it ended up not mattering in the least! Unicorns are real!?
Pictures on the morrow. Gird your loins, for tomorrow we make war.
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Post by sydsbluesky1 on Feb 27, 2017 12:56:24 GMT -5
Thanks! Good to be back. Just unpacked all my stuff out of a Columbus sized apartment into a more reasonable Tennessee sized garage loft, and I decided to pick up an old project from the days of yore when dragons ruled the earth. That... ahem... guitar I was rebuilding for that guy's wedding present... yeah... Don't judge me! They're still married, so I'm in the clear! Anyway, it led me to give him a phone call just a few hours ago for the first time in 6 years, too. He's not even mad! Or maybe he's gracious? I'll take what I can get. Otherwise, I don't see Karma anymore? If that's no longer in play I have nothing to miss from my old handle. I can search up my old posts easily enough. Thanks a bunch, sumgai. I'll prolly remember it one of these nights after a few soda pops, anyway...
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Post by sydsbluesky1 on Feb 26, 2017 22:39:04 GMT -5
SydsBlueSky1, AKA SydsBlueSky with a forgotten password, here! Been a few years! Nice to see some of the same names I remember from the past around. Anyway, I'm here and have new projects! Pics to come, of course.
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