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  1. 4 likes
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    I got all the hardware strapped on and the nut made and then strung it up. It still needs a set up and intonation. But it looks like a completed guitar, so from here on out I have indulged in gratuitous picture taking. Because we all like looking at pictures. SR
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    Pretty much just down to the boring little details and then it's all done. Not shown here, but after some quick soundchecks of the Irongear pickups I've since added a fixed treble cut to bring the highs a little more under control: Quickly fire up the CNC and run off a rear coverplate out of some matte black plastic: Shielding is achieved with some adhesive aluminium tape. A 50m roll costs about $20 and will last forever. Where the two strips of tape meet I've perforated them with the tip of an Xacto knife to ensure that both pieces will remain connected together: Perfect fit:
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    And the final finished shots (honest!)
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    I did plug it in to see if it made any noise. I used 250K pots, so it is both silky sweet and cranky as hell depending on the attack. That's what P-90s do after all. But I do have a puzzle for you curtisa. The volume pot does not go completely quiet. All the way up- let's call that 10- is normal and it bleeds on down as expected to somewhere between 2 and 3. Then rotating the knob to what should be of,f turns it back up to full volume again. The tone pot works correctly. That's a new one on me. SR
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    Thank you! I try to keep a fairly comprehensive set of pics for each build, but sometimes I just get in the zone and forget! Voyager 7 neck has been unclamped. Everything looks good and solid, so on to sketching out the heel carve.
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    Hi Yes - me again. And Pete again!! For those who haven't seen the other threads, Pete is our old-blokes-band's bassist and, for reasons that I don't fully understand, is my best customer. I can only assume that the low frequencies and our band's general bad playing has somehow shaken up his brain cells to the point that he can't differentiate between properly made instruments and my hobbyist efforts Hmmm.......or that he has realised how much cheaper my efforts are.....and that he can always get them fixed if they ever go wrong (which happily they never have yet)...or that maybe he's dating MrsAndyjr1515 while muggins is down in the cellar wading through sawdust.... Anyway, so far I have built him a Jack Bruce Warwick-style fretless bass, an SG-style 6-string electric and an EB3-style fretted bass. And now he wants me to build him a piccolo bass! So, first question to ask, 'What's a piccolo bass?' OK - there are multiple answers to that so, to cut to the chase, this is what I'm going to build him, whether it's what he's expecting or not: A guitar-sized bass, pitched at an octave higher than a normal bass, which makes it, essentially, a 4 string guitar To try to get a non-electric guitar tone: going for a single, mid-biased rails pickup in the neck position; multi-scale (26" at bass side and 25" at treble); flatwound strings Figured walnut top, with teardrop f hole and chamber; mahogany wings; maple and mahogany laminated through-neck; snakewood fretboard; 24 frets Here's broadly what it's going to look like (I'll actually reduce the angle at the nut and increase it at the multi-element bridge: Here's the top: ..and the main components with the neck splices cut, waiting gluing together: I'm looking forward to this one...probably in the same way as a small clueless child might look forward to scouts forest trip on the outskirts of Mordor.
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    Progress has been pretty slow of late. One of the reasons being our latest aquisition For any VW buffs out there, it's a 1979 Devon camper, mostly original, including the 2.0l T4 engine. Anyway, enough derailing my own thread
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    Not a typo - seems like I should have dichrocaster in quotations, but I put "build" in quotations because my Strat mod is not worthy of the title compared to the awesome real builds I've seen by most of you (still perusing through all your cool projects). I am truly impressed by what I have seen here, and blown away by the level of craftsmanship. Thats coming from a guy that majored in WW / Furniture Design at RIT back in 86 with furniture in FWW magazine's Design Book Six, so I know a thing or two about fine woodworking (just not luthiery yet). "build" also in lower case, because my goal is to cosmetically makeover some guitars in rather short time frames, so I am intentionally cutting some corners (literally, freehand with my tablesaw) for production effiicency, so some of the craftsmanship is a bit poor by my standards, as this is my first full guitar modification, so consider that issue when criticizing, but please PLEASE criticize - I need all the knowledge I can get. I have only been interested in guitars for less than two months when it hit me that these new color-changing dichroic laminates would look cool on guitars, coupled with the incredible timing in which you can now get Floyd Rose bridges in the new rainbow chrome PVD plating. So now to explain "Dichrocaster". "Dichro" is short for dichroic, which means di = two, and chro= color, a term / adjective for "color-changing" which is most commonly used as dichroic glass, Google dichroic glass and you will understand. Few are aware of the newer pigments now that are actually micro platelets of dichroic glass. These pigments are the same as used in the $5000.00 per gallon Chromalusion (DuPont) and Mystic (BASF) paints. What is super cool is I have recently found suppliers of raw borosilicate pigments with the same color shifting effects for a fraction of the said pre-mixed brands, and am using them in these strat mods (the "Dune" face acrylic). I am also using another laminate for inlays that utilizes dichroic films in the optical core, which complements the rainbow Floyd Rose and the Dune perfectly (not explaining that stuff in too much detail for fear that this post might be removed as a veiled ad attempt - this post is so I can gain knowledge and ideas from this community). So now details on this mod. Got a cheapo squire with sound body and neck, and took it to the dado blade to remove 5/16" from the face and bevel to be replaced with the 5/16" back coated "Dune" acrylic. Edges chipped pretty bad (didn't realize how thick the PE fill coat was), so next time I will pre-score the edge, but its gonna get body filler and urethane sealant anyway. I drilled the Floyd Rose stud holes first, then routed its mortice to a depth of 3/16" prior, then routed the 5/16" around it, Then re-inforced the short grain in front of the studs with oak pcs epoxied cross grain in the bridge pup cavity - will show pics if interested. I mounted the humbucker just for the photo below, but am curious from all of you why the screws were so long? I needed to cut nearly a half inch off them, and they still will be able to be adjusted plenty. The Dune acrylic face and the red inlay material all cut great with the laser, and I plan to carry the triangular "exhaust plume" deltas up through the neck in place of the pearl dots. Then will ebonize the rosewood. Planning to reshape the headstock and spray it with the same pigments as the body. I recently hired a young guitar tech to work for me in my other work, and we are doing this project together. He (Sean) has been super helpful and we are learning a ton from each other, but curious what kind of can of worms I am opening by posting this (referring to inevitable comments like "you just ruined the tone by routing off the face and gluing in acrylic" type of comments - which I would welcome anyway. My goal is not to create a great sounding guitar (will do my best in that arena), but to create an insane visual feast.
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    Building the Fauxeana has been so much fun that I decided "Why build one when you can have two at twice the price?" So, I present the beginnings of my Fendrish Limited Edition American Nonstandard Offset Telebastard 3-piece swamp ash body blank Roasted maple Warmoth Tele neck Single pickup: humbucker in the bridge Led Zeppelin IV album pickguard Olympic Girl (white) wudtone finish
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    I've got my money on knowing why it happened. Here's what I did. 1- Pulled it out of the oven... got really excited 2- Went straight to the sander to level the faces (more heat) 3- Went straight to the resaw and cut it down the center thus releasing the inner core to the cold in a rather quick and drastic fashion I'm sure I could avoid any and all non-permanent warping by simply adding some patience hahaha. Chris
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    I took a few more shots of the front in an attempt to get some in different lighting and thus less reflections that might be good enough for a GOTM entry. SR
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    So this baritone is finished. I applied Hartwachsöl with a brush, wich left deep streaks. I sanded most of it down and applied next three light coats with a cloth. Should have used a cloth from the start. It takes a day for one light coat to dry in a warm room. That pine is still soft under that wax, so I made a few dings when installing hardware. Luckily they let me burnish them down so they are lost in other little imperfections. On those mahoganies on the neck the wax is awsome. I thought I am good at soldering electronics, but this one was hard. New japanese pot was randomly cutting the signal, it took time to find it is the new pot and not other reused components. I always loose my patience. But it is done now.
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    I'm a little surprised that the saddle breakpoint on that bridge appears to be smack in the middle of the block. I'd double check the position of that line relative to the outline of the bridge you've drawn. Typically the high E string will intonate with the saddle nearly fully forward. On a freshy-placed bridge it's unusual for the highest strings to want to intonate by moving further forward beyond this. If anything the intonation point will likely be further away still. Every other string will then intonate even further back from the high-E by varying degrees. If that is the case then you can probably move the bridge (and subsequently the bridge pickup) further back another 0.5" or so. But check first.
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    A couple of update pics. Man, these kind of colors are really hard to photograph. The purple especially. I cant get a straight on shot of it.
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    As curtisa says, if you are still in the design stage, you can just change the placement of your pickups. If where they are is integral to the design you can move your bridge back and the neck / fretboard will need to come that way as well to maintain your scale length. And the gap will be closed. And to answer your second question, no it will not hurt a thing to leave everything just where it is. There is a ton of voodoo out there as to where the sweet spot for pickup placement is...where they are in relationship to the nodes of the vibrating strings, but voodoo is all it is. The nodes move every time you fret a string. SR
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    Third time's the charm. From this: To this:
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    I found them insanely easy. They went over the sealer coat on my '51, given a dust coat so that the solvent doesn't burn the ink out and then buried. Did you get any lines down the page from the printer's feed rollers? I did, but they don't affect the decals. The grain of the Maple shows through the gold, however I think that just makes it even better.
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    Absolutely loving this thread, in today's throw away world so good to see something get beautifully restored
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    I had my own blade made up to fit my radial arm saw. I went to my tool sharpeners who took a thin blade they had lying around about to be thrown out and ground it to the kerf width of the stewmac blade. It cost me about $10! It helps having a long standing relationship with them I suppose (and my father before me).
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    It happens when it happens. Let it be. If you have the luxury and option of time, it's worth getting it right. BTW - since I seem to be the most guilty person for derailing, I might as well mention that I love your new avatar @a2k
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    I've got the back bracing together and radiused the backs dome of 15'. Its looking a bit chunky here, but when glued, will be thinned down a lot. I figured that it would be a bit easier to attach to the back as one unit. The back strip once cut to accept the braces will act like a guide(?) to stop any creep. The neck blocks almost done. Yes bolt holes. Apologies. The fretboard support is raked up at 3 degrees to allow for the dome of the top and neck angle. I've left final shaping of the curved section till I've got the top braced and the soundhole cut, so there's a bit of wood to play with there. the whole underside will be nicely bevelled off as it will be viewable through the offset soundhole. Tools now pretty much down until the top and back hit the ranch. Thanks for reading Matt
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    Thanks for your kind comments. I'm certainly not going to start rushing now, although I'm as keen as you are to see a finished guitar! My wife even bought me a Hiscox case for it for Xmas!
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    I got around to fretting the neck. I also put several coats of danish oil on the body back, sides and neck. I do t have a pic but I got the pickguard cut, beveled, and ready. Next step is gold top paint for the body.
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    Probably not much discernible difference with everything at full tilt compared to vol = 500k, tone = 250k. The feel of the tone pot may change slightly. My gut feel is that mixing of values isn't done because then manufacturers would need to stock two sets of pots. It's cheaper to buy 1 million pots of a single value than it is to buy 500000 of two values. You can always slug a bigger pot to behave as a smaller pot. A 500K fixed resistor strapped across the middle lug and ground of a 500k volume pot will limit its maximum resistance to 250k (and make the taper slightly more logarithmic, which may be advantageous).
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    Indeed. I lined the control cavity with adhesive backed aluminum. Once Carl mentioned how gooey the adhesive was on the heat tape I was using on the last build, I realized I have access to a bunch of this stuff, and the adhesive is only .002" thick. The tip of the day actually comes from Drac from way back when.... Instead of blocking ferrule holes or sanding them open after clear coating, use your soldering iron to heat them up as you press them in. It stops lacquer chips and seals the ferrules right in. I had a moment of clear bright direct sunlight whilst strapping on hardware. SR
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    This is my Photon prototype build. I am hobby builder, working out of my garage. I have built about 18 guitars over the last 16 years This one is a design that was inspired by the thought of something in motion and by the bevels and thinness of the SG. Because of what I wanted it to be, there are very few off the shelf parts here: the switch, pots, jack, and strap locks are the only retail parts. I designed and machined the bridge, tuners, knobs, truss rod, inlays, pickup covers and I wound the pickups as well. Some vital specs: - Zebrawood top on Sapele, 1 1/4" total thickness, grain matched cavity cover with rare earth magnets - Vertical grain Doug fir neck - Bloodwood fretboard, 24.5625-26" scale lengths - Magnetic truss rod cover - Firebird style humbuckers with A5 magnets inside of sapele/bloodwood covers - All aluminum hardware designed and machined by myself in my garage - Wave/particle duality inlays featuring photoluminescent powder inside of aluminum tubing - Separate volume controls and master 2-band passive EQ with onboard preamp - Finished with 2k gloss
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    Its been a while but time to post my latest. Full build vids included in playlist. This is a Jack Daniels Barrel Top Guitar. I purchased half barrel tops down in Lynchburg and could just get a tele top from them. I resawed the top and let it dry, then pieced it together. Back is reclaimed barnwood with an Oak Core drilled out. Neck is a WD rosewood neck that is unfinished like the rest of the body. Aged Chrome hardware with Bigsby trem and custom wound pickups. Final vid has my terrible playing... Youtube Playlist
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    Excellent job on some very twiddly work. I'm pretty sure that would have made my eyeballs twitch. SR
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    Hey Retuos, Nice that you started a build thread! About that bridge, you may want to extend the high-e forward a bit more. On any of my guitars, the typical spread between low-E and high-e is about 3~4 mm, the low-E the most back, and the high-e the most forward. but if you measure the actual scale nut-to-12th fret then 12th fret-to-saddle, the A-string is probably the closest to being the same. So your high-e should be more forward, or your low-E will be too far back. The actual travel of that bridge is only about 10 mm, even though there appears to be more screw left, the spring starts to bind and the saddle would go behind your string-through hole. The high-e saddle should probably be more like 90% or even 95% forward. What is the measurement from the nut face to the center of the 12th fret? The measurement from 12th fret to the actual touching point of the A-string saddle should be about the same. (I hope this makes sense to you)
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    I like to pop it, but no you do not have to to get a great look. And every coat of dye you add makes the darker areas even darker. Highly figured maple is an absolute joy to dye. As I am wont to say, everyone should try it once! And perhaps the best advice I can give you is to practice on scrap first. It will give you a great idea of how your maple is going to react. SR
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    Good call. I couldn't remember if you had one of those. I don't, but I'm pretty sure I'd like it if I did, SR
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    Its been awhile. Here's some pics of that hickory guitar and where I'm at now!
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    I can imagine the carve, but can't see it. Do you have an incandescent lamp or trouble light? Set it off to the side only a bit higher than the top ... and for real drama, turn off the overheads. Wanna see!!!!
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    I've resawn a figured top by hand once. I bought a bandsaw shortly afterwards.
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    Thanks Scott, very poetic of you. Must be time to go fishing
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    Young Lizzy One piece myrtle burl top. Keruing body Two piece figured jatoba neck Ebony fretboard and HS cap Gotoh 210 Delta tuners Babicz bridge SS jumbo frets Klein high wind P-90s Build thread: SR
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    Agreed. I find that most Finns can speak English better than they think they can. The problem is that it is usually taught as a book language rather than conversational language, so it isn't taught through use. More in theory. That and Finns feel embarrassed because this makes them feel they might not be able to use the language outside of the classroom. In reality, get a beer or five on the table and you find that many Finns speak English better than some English-speakers.
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    In having downtime waiting to order some more tools, I'm starting this project as something of a test. It will be a hodgepodge, but the reason is that I don't want to ruin any expensive pieces of wood yet The idea started from a fondness for the Ibanez PGM, and wanting to have a guitar that was as playable as an RG, but with real semi hollow construction. I had some motivation too being a big fan of Languedoc guitars. I am in no way ready to even think about foraying into that realm of building though, so this will have to do. I started off by tracing my Ibanez RG170 for the shape, and getting it onto the computer. I played around with some of the lines to give it a twist and some ideas for contours. Mostly though, it's still like an RG. Here are some basic specs for the idea: - It will be neck through, semi hollow construction with a top and bottom. - Two humbuckers with coil splitting for each - 24 fret 27" scale I am guilty of having started some of the work, so I will be updating to where I'm currently at. I'm pretty green to building, so I will heed any pointers to the best of my ability! Thanks for looking.
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    Congratulations, Scott.!!
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    As the very old and very crude joke goes, "Don't you think I'm in enough trouble as it is?!"
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    The thing about it is pros the vast majority of americans Don't want to live in a "socialist utopia" that's why Bernie lost the primaries. to be honest I like Bernie a lot more than Hillary but I don't like his politics. Im not a huge fan of trump but I liked him a lot more that Clinton. Like him or not ya got to admit Trump is getting things done and he is doing what he said he was going to do, as far as Obama care it has been a cluster fxxx since it was signed in to law. it has put a major burden on the lower middle class and upper lower class. over the last 8 years my insurance has more than doubled and my coverage has gone down the toilet. a few weeks ago I had to go the the clinic that cost me $100 out of pocket then two more visits to the eye dr those where $75 each. in 2009 when I was out of work with no insurance that's about what it cost me to go to the DR on my own dime. in 09 I was paying around $20 a week for insurance that was very good something like a $2500 a year cap cheap copays and a lot of prescriptions where free. now im paying $50 a week for really what amounts to crappy coverage. All you see in the media are number like 22 mil more people have insurance, what you don't here is how people who are struggling to make ends meet and then they are strapped with this extra burden
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    Pictures never quite do it justice. When wiped down with mineral spirits, I can't bring myself to not try to make it work. We'll see... it's slow going for sure. I've got it down to between .18" and .2"... I need to run a thicker/stable fingerboard blank down the table saw to make a base to mount to the bottom of this for stability.. I think I'm going to shoot for .15" on the support one. What thicknesses do you use for your fingerboard blanks prior to radiusing? Stopped by the local hardware store today on a whim and got a couple "nice" Guatemalan Rosewood and Cocobolo drop tops from the luthier scrap bin. $24... Takes some digging, but every now and then they throw something away that meets my budget AND qualifies as a prettier than average. I should have snapped pictures when I had it out, but didn't get to it. I'll post em soon. Template is waiting on the body to clean up the edges (roughly shaped on bandsaw). I forgot the bit I have doesn't fit the trim router... and I haven't gotten around to pulling the larger router off the tablesaw base... The weekend is coming........
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    Whatever the case, I cannot see that you've grounded your pickups or your bridge in the photos. The diagram is not clear how the volume pot is grounded, but it must be otherwise it simply will not work. The rest of the grounding scheme is shown on page 5, however as your instrument does not have this same grounding scheme it cannot be used as a direct substitute. If the pickups are not grounded the guitar will make very little sound. If the bridge is not grounded you will get lots of buzz until you touch a metallic part is the guitar that is already grounded. The bottom line is that it would seem that the bridge and pickups are currently ungrounded. The easy fix is to connect them to the nearest grounded point, hence my suggestion of the rear of the volume pot. There are other points on your guitar you could use equally well - the rear of the tone pot, the frame lug on the big 3-way switch, the ground lug on the output jack.
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    No glue. If anything just a few dabs of bathroom silicone in the channel to prevent the possibility of the rod rattling. Mind you don't get any silicone on the gluing surfaces where the fretboard attaches to though.
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    Scotch would be an excellent topic of discussion to add to the beer. Something called Monkey Shoulder is almost begging you to discover how bad it tastes. SR
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    Yep I totally agree with what was said above, I'm not sure if you follow my build thread or not but I just learned the hard way yesterday about black limba splitting. This happened with just moving it with my hands before it was glued up, wasn't expecting that at all. You can see it on the bass horn of the first body.
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    Good job you took care of that. Looks like it shattered when it hit the ground. That's the dangerous stuff!
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    that cream appears to be a lot less "yellow" than some of the paints here in the states. Looking forward to seeing this with clear and (perhaps) a pic in natural sunlight (wink wink hint hint)- looking good man
  50. 1 like
    Over and out: And for @KnightroExpress 's benefit, some obligatory roxxorz: https://dl.dropboxusercontent.com/u/24052640/HM7 Test.mp3 Regarding the Fishmans, cleans were neck + bridge on voicing 1, distorted rhythm guitars were bridge pickup on voicing 2 and the various leads/melodies were either neck or bridge on voicing 1. Ended up redoing the nut. Despite the fact the strings were unlikley to pop out of the shallow slots I wasn't happy with the way it looked. In hindsight, if I'd planned it better I think I would have tried a zero fret with these string locks. Their proximity to the back of the nut makes fettling the nut slots quite time consuming, as you can't just slacken off the string and pop it off to one side to fine tune the slot with a file. Every time you have to tweak the slot depth the string has to come off altogether and then the string lock needs to be removed from the headstock to give you enough room to use a slotting file.