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Shaikoski

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Shaikoski last won the day on September 16 2012

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  1. I did a huge amount of research on this. First a good understanding of magnets is very important. Second you need to know how the pickup is made. Let's start with basic parts of most pickups. Poles whether magnetized (typical single-coil) or not (typical humbucker) they are the first conduit from the vibration of the strings in that the magnetic field coming off of them is manipulated by the metal string moving inside of that field (this is why when your pickup and strings are closer together they produce a seemingly louder effect because the magnitude of the field is being changed in a greater way with the vibration of the string). Now you might be saying what the hell are you talking about with the poles of a humbucker not being magnetized, well to explain that there is a magnet (block of magnetized metal) underneath the two sets of poles which has it's magnetic effect go through the poles. Wiring (specifically the wire wound around the poles) is generally copper. The widths and coverings vary to be so many different things, such as some having enamel covering the copper and similar things, however typically the wire is 42-48AWG (afaik). Now the general rule of thumb is that the more mass of wire the higher the capacitance, this is dictated by both the guage of wire and the winding of the wire around the poles (number of winds around the poles as well as the shape). I feel safe in saying that a lot of "voodoo" can come from all of this but there is science at work here for the most part. Typically your darker and clearer sounding pick-ups are wound more times around, btw feel free to correct me if I am wrong at all during this post. The humbucker is called such because it is known to have less of a hum. This is so because of the dual sets of poles (which have wire wound around each seperately) creating two seperate magnetic fields which "buck" against each other. I wish I had a diagram but sadly I am at work during a very slow day but i'm sure it is out on the interwebs somewhere. Also there is the higher capacitance to consider as a result of having two sets of pole pieces. I think the single coil type sound coming from mini-buckers that some people were stating here is probably resulting more from a lower capacitance due to smaller design, however I haven't done much of any research into atypical pickup designs (mostly just standard HB vs. SC). The single coil sound to me is much more raw and twangy, I hope that you can see why after explaining the humbucker. The design of a single coil pickup is very untamed in the sense that it is free from having a partner to metaphysically keep it in check. I very much suggest that if you want to know more about the other less common pickup designs and their tonal effects to seek more details like this pertaining to their design or, if you have enough money, reverse-engineer them (i.e. take them apart and learn). please ask as many questions as you wish and correct any errors of truth that i have made, this is not as comprehensive as it could be
  2. Titebond Hide glue. When I was refurbishing an Epi LP I accidentally dropped it backwards and had a naaaaaasty smiley crack on the neck. pumped it full of glue, applied pressure for sometime, wiped the excess, sanded a bit, wood filler, sand again, painted, and you can't notice at all
  3. I truly do not like whammy bars plain and simple. I quickly understood the warping thing hours after posting, been taking care of some personal stuff lately. Wouldn't you have the same problem with any other neck though? as far as the neck thickness... I have bigger hands which like thicker necks and this project is more for me at this time anyway. I doubt I would be using a fret board that would be thicker than 5mm though. What if you clamped the neck and body to a straight metal edge (specifics would have to be more detailed but you get the idea)? At the very least I would think it wouldn't hurt to do that. If you already have your truss rod in before you work the neck profile wouldn't that add substantial stability as well? I, unlike most people I've come across, like gibson's style and approach to guitars more. I plan on having a thick body, as compared to more fender style guitars. I really like the gotoh tune-o-matic bridge and tailpiece I got for my dad's guitar, it can be adjusted for every saddle in any feasible direction and is aesthetically pleasing to me. Would there really be an issue with just recessing the tune-o-matic style bridge? I do plan on drawing everything out and making a great template before even buying wood. Speaking of wood, did I mention I plan on using mahogany? Any wisdom on working with that would be appreciated of course. The way I understand it the same rules would apply just differently because it is a different wood than what I saw on one of your projects.
  4. Sorry Pauile, I am confused about the twisting you are talking about. I also had another idea that wouldn't require any neck or body angling but rather it would require tedious measurement and a good template to be made. BTW, I'm gonna use a tune-o-matic style bridge and generally those stick out more from what I know, please correct me if I am wrong. Now, if I carve into the body where the bridge is would that not be a viable solution? I plan on buying all of my hardware and such before doing anything more than carving the body with my silohoutte template so I should be able to get fairly accurate measurements of things. Other than that the only other solution I can come up with is getting a thick fingerboard and tall nut, which would be rediculous. Also, there is no way I would use the shim method for the same reason that you stated. I'll try searching for your thread, but if you have time I'd really appreciate the link in case I can't find it. Thank you all for the input.
  5. sorry man, those are the two companies that I really have no wish to model after. maybe if you explain it to me more what those are (I neglect the idea of bolt on necks because I don't like them) I could give it some thought.
  6. interesting, glad someone does this. My first fully from scratch project is going to be a "one piece" (body and neck with headstock from a different piece). I know I'm ambitious but I did learn a lot from my first refurbishing project. If I might pick your brain though on one thing, I'm struggling to come up with a surefire way to angle the neck other than slowly working it with hand tools or creating some rediculous jig. every other aspect I feel very confident about, just really concerned about getting a slight angle in my neck. Any other tips or tricks would be much appreciated as well if you are willing to part with them.
  7. exactly! the vibrations of strings is what makes the sound. the wood and construction methods used (bolt on, neck thru, neck glued, side blanks, veneer, headstock joint, thickness, stabilization due to hand and body touching, every place that is glued on...) essentially creates a platform. my analogy is going to be that the strings are your force, nut/frets and bridge(anywhere the strings contact really) tectonic plates, and the body being your earth (all based loosely off of my knowledge of earthquakes) and your pick-ups being seismographs. Seismographs pick up the force of an earthquake, the force resonates on the tectonic plates, which are held by the earth (and gravity) as to not just be a constantly morphing blob. since the earth holds the tectonic plates in a certain way only allowing them to resonate to a certain degree, the earth, or your guitar body, does affect what the seismograph puts out. a marsquake should be different from an earthquake, if mars even has quakes, but you will get a similar feeling of panic as you race to the nearest doorway of your mars colony since the strings' ability to vibrate is affected by what it touches (fingers included) yes the wood and construction does affect tone. how noticeable it is... now that is the question. at this point I'm gonna drop some nirvana on everything and say that one should find what they like or continue to explore, that's what's always been the fun part for me. if you make a guitar out of a wood that some may say sounds inferior though you like it, CRANK IT UP TO 11!!!!!
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