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  2. I neglected to add in about microphonic pickups. Lightly potted pickups can be pretty responsive to the wood also. Not so much that you'd regard the wood as "tone wood" or whatever, however I didn't see it as useful. Mostly because you can't design for it that well in most cases. Still, a nice Les Paul with low wind count lightly potted pickups speak from the wood and not just the strings. As Wes says, we're not here to convince. Just to illustrate and further the conversation. It's a shame that you "can't ever be convinced" as this leads to dogmatic thinking and a lack of openness man. There's always something to learn and new things to discover which is what makes guitars a lifelong obsession, not simply a static thing.
  3. Prostheta

    Misc Stuff about Life. Part XII

    Ol' Brown Eyes Is Back?
  4. Katalox is heavy isn't it? SR
  5. Personally I have issues with low B's anyway for the same reason - even on 34"! Ewan has special strings wound for all of his 6 stringers (all at the same short scale) and that probably helps but it's still a bit too flippy floppy for my liking. He reckons he will be fine with it and open note it sounds fine. It just rattles a bit as you slide up the fretless board... Anyway - that's jumping ahead
  6. I put a 0.6mm ebony veneer on the back of the katalox to act as the demarcation line: Marked the chambers on a sheet of paper before I forgot (only way of remembering exactly where those voids are!): Then cut the stop tail, bridge and pickup holes in the katalox Tidied up the control chamber, ensuring I would lose the fixing holes in the hatch rebate: Then chambered the back of the katalox to lose a bit more weight: And glued it together:
  7. (spoiler) seeing this finished in another thread- has me wondering what a low B on a 31.5" scale is like in both sound and feel. that has to be nearing rubber band territory. nice surgery btw.
  8. Yes - mindless cruelty is one of the few pleasures I have left in life
  9. ScottR

    Misc Stuff about Life. Part XII

    At which point it would be a bad idea to sneeze. SR
  10. But before I could work out if it really was going to work, I have lots more to do with the body. First, I took off the 10mm thickness of the katalox top plus another 5mm to slim the body and lighten it - especially considering the weight of the katalox, which was heavy! Ewan wanted a Warwick bridge and stoptail. I made provision for this and marked out where I was going to lose some more of that heavy Ash: Then got the forstners, chisels and router out: Next, I made up the neck blank from mahogany with a central walnut splice. Note the heel is deeper than you would normally have on a bolt-on... And jointed and joined the top - with the extra neck pocket are cut out so I could use the top as my routing template:
  11. Did you actually show Ewan this stage? SR
  12. Well Ronnie, the point is not to convince you. I have no idea as to your hearing range. Neither does the anecdotal "listen to this and tell me the woods used" argument hold any merit. By the time a track is run through all the processing in a recording studio and put onto a medium replayed by your own equipment of course telling woods apart would be tough indeed. What does matter is that the artist hears the tone he wants through his equipment so he likes what he's playing. In person in your own home where you hear all your music it's much more noticeable. Every one of us has a different opinion as to what is most important for a "good" tone. Build quality is also a very important aspect, probably more so than woods used. I find woods used have a greater effect than strings used, but more effect than the type of fretwire used.
  13. Prompted by @ScottR 's 'Not Quite a Tele' thread, where we were discussing reducing the transition from the neck to the body, I realise how far behind I'm getting on my threads. One of the reasons that Ewan told me that he never really finished this bass twenty years ago was "I had some issues with the neck joint and pocket." Looking at the body carve I could see what he meant. In order to add some strength to take the 6 bass strings, he had taken two Fender-type plates and turned them 90 degrees: And then cut the pocket so that he had 6 of those hole positions holding the neck and the extra two dummy screws into the solid wood: I wanted to somehow lose at least 4 holes in my joint, but also wanted to lose the 'Fender brick wall' problem when his fretting hand reached the neck/body join. Losing that step is one of the reasons that I do through-neck for all of my own designs. So I had a ponder and came up with a few hypotheses. - surely, particularly if I use machine screws and inserts, 4 bolts are plenty strong enough - what if I lengthened the pocket rearwards to expose the hidden screw holes and then cut off the pocket area up to the 4 holes at the nut side: - and then, at the joint, what if I had a deeper heel on the neck blank and carved the transition into the bottom of the neck: I came to the conclusion that is could work so, at this stage, took the low risk option of cutting away 2/3rds of Ewan's original neck pocket "Trust me, Ewan. This might work" "What do you mean, MIGHT??" "Don't worry, Ewan. What could possibly go wrong?"
  14. And none of it is to say acrylic or aluminum, etc have "bad tone", Pros. But talk of you want about a fence, "some" is still a completely accurate word in this context. Assuredly more than "all". Tonewood is subjective. There are many ways to achieve a desired sound. Denying any effect at all though is disingenuous.
  15. Pickups only pick up the oscillating frequency of the string oscillation. Wood does not have a frequency at all. Therefore it cannot be amplified. No way scientifically the wood can be part of the sound on an electric guitar. No way I will ever be convinced that wood plays any part of the sound. If I make some sound clips from all 17 guitars I have, can you tell me which type of wood they are made of? Or what brand they are, pickups they have, single coil or humbucker or P90? What neck material they have? Maple or rosewood or ebony? What gauge the strings are and who made them? Of course not! So back in the day when I first started on the guitar, you had no after market anything to upgrade a guitar. You got what you got and if you wanted to change the tone, you adjusted the amp or the knobs on the guitar. Just play it and don't worry what it is made of. Watch the video of Justin Johnson playing the 1 string shovel guitar he made to prove this anomaly. The only thing the pickup reproduces is the string between the nut or fret and the bridge. That part of the string only. Not the wood!
  16. westhemann

    Misc Stuff about Life. Part XII

    In buttcheeks overclamping results in a reduced crack. Too much crack reduction can have the unwanted side effect of turning blue eyes brown.
  17. Today
  18. ScottR

    Hi - Starting building #6

    Something about exotic offcuts that dogs can't seem to get enough of. My own dogs have been known to bomb a photo or two themselves. SR
  19. Prostheta

    JimF's First Build!

    Hi Jim - I'd go as far as to adding that you should always chamfer the fret slots regardless of the wood. It allays most chipping when it comes to refretting, prevents poor seating if your wire has a slight fillet between the tang and the crown plus it guides the fret into the slot with less effort and drama. I do it religiously, or as religiously as I think is appropriate. No sacrifices or stoning my neighbour for mixed fibres or whatever.
  20. Prostheta

    SG Respin

    I've spent a lot of time with your 5-string Tele bass pickup, and it really has a lot of range in how you can play it. I hope that you mentally saved that one.
  21. Prostheta

    Misc Stuff about Life. Part XII

    Depends on the adhesive. Epoxy shouldn't have the same clamping pressure applied as PVAc as it relies on mechanical bonding as opposed to (theoretically) hydrogen bonding/Van De Waals forces. Did I ever mention how much I hate phenolic glues? Eeeeevil.
  22. Prostheta

    Misc Stuff about Life. Part XII

    "glue up your bums, the field doctor wants something in return for fixing up your lungs and amputating your legs".
  23. Prostheta

    Misc Stuff about Life. Part XII

    Yes, because myths has it that superglue was invented in the Korean war as a field applied solution to rampant gangbanging from doctors. It wasn't. Kodak accidentally invented it.
  24. Like most subjects, there are a lot of partial truths, edge cases and examples that don't always hold up in certain circumstances. A very simple point that I like to make is that pickups (mostly) induce an alternating current in the coil through the movement of metal perturbing a magnetic field. The movement of the strings is affected by what they are mounted on, usually a guitar shaped object made of materials. A rubber guitar will alter the ability and characteristics of those vibrations differently to a solid granite guitar, a polystyrene or a wooden one. The pickups faithfully reproduce what the strings are doing, the strings are affected by the substrate. This is just an example in extremis to validate the point that the "thing" the strings are mounted to has an effect. Different woods have different characteristics also, from flexibility, density and ability to dampen or resonate. I disagree about digital modellers Wes, however the interaction between instrument and amp is different. I note that you added, "some" so you can sit on a fence a little safer I do however vote bullshit on "tonewood". It's a meaningless term used to propagate marketing wank. It doesn't describe or refine, it broadens and despecifies. It elevates simple things to bullshit levels of magic and woo. We don't need that. Only people who are trying to sell you something you don't need, or create a want in your mind have a use for marketing terms like "tonewood". No tree grew up with the express intent of being a guitar.
  25. Woods used do have an effect. That's obvious. Anyone who has made identical guitars with identical hardware and different woods knows this. Everything affects the tone of the instrument. Doesn't mean a guitar will sound bad if less than ideal woods are used, but you always keep in mind the sound you are after. You can definitely make up for bright woods with pickups that sound less bright, but it's certainly in your best interest to consider everything. I once made a guitar of maple and cherry and it was so harsh I couldn't stand to play it without adjusting my eq to dampen the unwanted frequencies. It's not uncommon though for years of playing at volume to desensitize players to a degree where it's barely noticeable though. Some digital amps kill most differences as well.
  26. Prostheta

    Project: S9 Progress Thread 2014 - RAD

    Totally worth the wait.
  27. westhemann

    Misc Stuff about Life. Part XII

    You should never overclamp.
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