Latest project

Doc B. · 26068

0 Members and 1 Guest are viewing this topic.

Offline Doc B.

  • Administrator
  • Hero Member
  • *****
    • Posts: 9658
    • Bottlehead
Reply #15 on: February 25, 2013, 03:06:08 PM
I suspect the finish makes a difference too. And I suspect that picking the right piece of wood to start with is probably very important.

Dan "Doc B." Schmalle
President For Life
Bottlehead Corp.


Offline DoS

  • Jr. Member
  • **
    • Posts: 47
Reply #16 on: February 25, 2013, 05:36:27 PM
As you said, some guitars sort of need a finish or the sound can be too hard. While that might be true, it seems to me the more logical thing to do is choose a grade lower in hardness of wood. That way you maintain the sound you want without needing the finish to mute it.

While on one hand the muting does work for the guitars that need it, it becomes a bit harsher on ear and much harder to integrate into a band while retaining the essence of authority as towards presence. (especially given the sorry ass state of live venues these days with their shouting speakers)

It is pretty challenging to explain to someone that something sounds better than something else, but the qualities of the type of sound are not desired. It is a new concept to most people. Better should be more subjective but as humans we actually maintain an exquisitely high ability to detect fatigue levels; we just generally don't consciously know it. It is much more universal than people want it to be. Their words don't reflect it, but their listening habits and, particularly, repeat listening habits show this very well. It can often be the difference between watching a band or going for a smoke. The great modifier is of course alcohol, however.

For the same reason I haven't been able to entirely understand the true benefit of power conditioning towards live music. I'm excited to try my future Tode on different levels of power conditioning. Live bands so far have been very in favor - primarily limited by their ability - to some power conditioning. Frankly it is hard to understand how it hasn't been more of an issue given the amount of small adapters used for the hordes of pedals any band typically operates with now. All those tiny transformers from AC adapter are just common mode makers. Rectifier noiiiizzzzeee in all your gear. I tell every pedal dork I know that we should make them a battery pack that fits in the suitcase thing they use, and probably hold enough of a charge to nearly finish a tour with. They all know battery sounds better but dies quick with 9v's. I've been dreaming up a better tone device lately... Along with still wanting to know what a split signal distortion pedal would sound like (described it to you in a PM). Perhaps my tone device could have outputs for distortion pedals (two outs)....

« Last Edit: February 25, 2013, 05:44:11 PM by DoS »



Offline DoS

  • Jr. Member
  • **
    • Posts: 47
Reply #17 on: February 28, 2013, 09:25:34 AM
A friend of mine is excited about potentially using one of these on a project that currently is a solid body of something unique (forgot what atm).



Offline Doc B.

  • Administrator
  • Hero Member
  • *****
    • Posts: 9658
    • Bottlehead
Reply #18 on: March 02, 2013, 04:38:44 PM
Today I got the wiring complete. I decided to do a traditional setup for floating pickup, controls mounted on the pickguard. I bought a surplus Eastman ebony pickguard with cream edge banding to match the edge banding banding on the git and the ebony bridge base. Used what look to be pretty nice CTS "283" series sealed conductive plastic pots, 500K. Used a traditional .022uF cap for tone - a cool old Styrene one from an old German radio. Got some nice cream colored radio style knobs off the bay. Had to do a minor superglue repair of the edge banding where it was loose on the PG, then trim a notch to fit around the floating pickup. Then had to fit the mounting bracket. That one was tough because I wanted no screw heads on top of the PG. Ended up using a couple teeny screws and a hefty dose of super glue to attach the bracket. A wee piece of elk hide pads the top mounting block to keep it from buzzing against the top.

Last step was to drill the holes for the volume and tone pots. One bad thing about ebony is that it is a mother*****r to work. I know that. And yet I became impatient, stepped up the drill sizes too fast - and split the damned PG in half! How many times do I tell you guys to slow down, and do it right? Do as I say, not as I do. Felt like a total boob. One good thing about ebony is it glues beautifully with superglue. Clamps, several grades of sandpaper, steel wool and a buffer had me back in business.


« Last Edit: March 02, 2013, 06:26:57 PM by Doc B. »

Dan "Doc B." Schmalle
President For Life
Bottlehead Corp.


Offline DoS

  • Jr. Member
  • **
    • Posts: 47
Reply #19 on: March 03, 2013, 10:34:36 AM
Strange knobs, but anything that isn't numbered with no point of reference is always better. The modern ones are so stupid, with numbers.

So just a neck pickup huh? Does it balance it well with the semi-hallow body?

My guitar keeps going out of tune in a hurry, like instantly, after tuning. I'm not sure why. I'm going to tighten the truss rod a little. Then I'll check to see if the nut needs a polish/graphite. The tuning keys are naturally loose (not the part you turn, but the part the string attaches too), but I figured with tension it shouldn't matter, am I wrong? Actually maybe the string placement things on the neck are switched. I'll have to get new screws though because the current ones seem mildly stripped.



Offline Doc B.

  • Administrator
  • Hero Member
  • *****
    • Posts: 9658
    • Bottlehead
Reply #20 on: March 03, 2013, 12:05:45 PM
This one is actually a pretty traditional/old school jazz box, hollow body, floating pickup, even the knobs are of the style used on 30's and 40's vintage guitars. Take a look at a Gibson Le Grande.

You can get inside tuners and tighten them up. I suggest starting there. Suspect that sometimes people spend money on new tuners when they probably just needed to tighten up the ones they already had. I don't know that adjusting the truss rod would affect how long the guitar stays tuned unless the screw is completely loose. But if the neck mounting screws are loose that could certainly affect tuning stability as the neck pivots a little in the neck pocket. Might try snugging them up a bit if the neck looks like it has shifted at all.
« Last Edit: March 03, 2013, 12:15:38 PM by Doc B. »

Dan "Doc B." Schmalle
President For Life
Bottlehead Corp.


Offline DoS

  • Jr. Member
  • **
    • Posts: 47
Reply #21 on: March 03, 2013, 07:59:41 PM
I've been reading the peg is likely to have a tiny bit of wobble (I don't have anymore than that). There isn't any way inside of that to do anymore.

Hopefully correcting how the stings go over the nut will do the job, with the right string directing things. (had a problem with one hole being stripped a little)

The truss rod is probably fine, but you know, cheap guitars.... The neck started out bowed in too much but has moved back out some sense I acquired it. That being despite that if anything I turned the truss rods to go the other way.

Complaint was that the treble was barely there in the guitar, and I'm hoping the way off string to nut thing was why.