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About headstack

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    Ocean Beach, NY
  1. Were you having a lot of feedback problems? I love it for recording, because once the gain is high enough I can get continuous controlled sustain (feedback, lol) of chords and single notes. By standing behind a gobo which first off keeps me from being blown away while tracking, I can step out and lean the guitar around the edge, controlling the feedback and sustain with great precision. Almost like a theremin... It's great fun, especially when my little hot rodded Fender Deluxe Reverb blows the assistant eng across the room for the first time. Like Men In Black and the little gun "The Noisy Cricket"
  2. Should be just to the left of the "multiquote" button. Very strange that you have the other buttons!
  3. Thanks Bob... I never knew we had tulip wood over this way, I always thought it was a semi tropical! Shows you how bad my wood geography is, which is probably worse than my regulay geography, lol. I hope you can get yourself some of that juicy curly maply in 10/4 rough quartersawn and 8" wide some amazing bookmatch carvetops. What you have looks like it would make beautiful one piece Strat and Tele necks.
  4. I think you will get great bottom out of a bass like that, but you may (don't know) run into the resonant frequency/ies of the body and get some loud notes due to additive effects, or get some odd phasing due to additive subtractive effects as the string and body resonate. Cant wait to haer from you about what you get with this, it could be really all round great too!
  5. I had posted a distillation ofmwhat some other folks had said in another thread, but it was getting hacked (I think initially by me) so I figured it was time for the subjects own thread. If every one feels the horse has been beaten, it is all subjective bla bla bla, then I guess this thread is already dead, eh? As far as posting sound files of all the different variations, it is only scientific if the same pickups are used, same amp, same settings, mic, gain stages, air temp and humidity etc. oh, and the same woods for each type of guitar in the neck through vs set vs bolt on etc. I do not own all of the variations, but I suppose I could snap the shims off my Telecaster neck pup after recording a coupled track and then glue it all back together. For me, The coupled mount is not a subjective thing, I know I get controlled feedback at lower volumes and can get feedback at more harmonic points along the neck more easily. One way worked great (coupled) and the other way was a PITA unless I really cranked thing up big time. Scientific, I don't know about that but factual real life experience for sure!
  6. Shellac washcoat, pore fill with black pore filler, sand back to remove excess pore filler and shellac. If you still have pores, wash coat again and pore fill, sand back as before and repeat till everything is glass smooth (if you want a smooth finish), then sand off shellac for the last time. Use TransTint dye and mix with water and denatured alcohol 1:1 with as much dye as you want for the desired density of black. Apply the dye and let dry overnight, and then sand it back with 400 grit to remove the raised grain (fuzzies on the wood surface from putting water on it). If you like the shade of black, make up a light to medium black dye mix to fill in the color that was removed from sanding off the fuzzies, let dry and move on to finishing. If you want it darker, do a heavier dye coat and if you want it lighter, sand it back harder, raise the grain with a wipe of distilled water from a clean damp towel, let dry, sand back the fuzzies and dye lightly to desired density.
  7. If you use ebonized rosewood, you will be scraping the dye off the wood when you scrape your binding to dimension after it is glued up. I would just use ebony for the binding, or black ABS for the black component.
  8. Well lookie there, you have smudged spots! That is definitely some sort of paint, and it may very well come off with a solvent that will not harm the existing finish at all. I would first try mineral spirits (paint thinner) and if this does not work, you may have to use something like acetone, BUT the acetone will only be safe if the finish us urethane based, which it likely is. You can do a test with a Q-Tip inside the electronic cavity or the hole for the jack. Moisten the Q-Tip, blot it with a paper towel so you do not have acetone or thinner running all over the place and give a good scrub in a small spot for several seconds. Check the Q-Tip for any color transfer, if it is clean scrub in the same spot again and if it is still clean, try a light scrub on a couple of the smudged dots. A word of warning... If you need to go to acetone, tape off the binding with a couple layers of blue painters tape and let the tape run onto the black by a 1/32"-1/16" to keep the acetone from reacting with the binding. If this does not work, some one experienced in finishes can wet sand that all off of there and then bring the whole neck back to a pleasing satin luster. Just trying to let you know that this is totally repairable! Give me your techs address and I'll send the bonehead a few rolls of low tack tape before he screws up any more headstocks*smack the back of head emoticon*
  9. Wow, Nobody wants to put their thoughts, personal experiences or advice in this thread? I am a bit surprized!!
  10. Once you have your saddles laid out and the holes drilled, drill a 1/4" depression with a Forstner bit under the last saddle and the drill your wire hole from this to the electronics cavity. you can place a strip of adhesive shielding foil right across the screw holes, tuck the end of it into the depression and solder the wire to it. Puncture the tape with a pencil or something to make putting the screws back in a bit easier, and screw the saddles down again to emboss the tape. Remove the saddles one last time and paint the spaces between them with a little flat black lacquer. Be sure to just paint between the saddles so you do not insulate the tape from the saddles with the lacquer! Put her all back together, string her up and wail away with your new instrument.
  11. Westhemann, Prostheta (some one else) and I began to talk about the pros and cons of each of these. Direct mount pickups being coupled have a lot of mid bass and mid (the wood tone) added to them, which can be nice or detrimental, like to metal as Wes says. The through neck, and the long tennon have a lot going for them, does this come at a loss of single note definition in chordal playing? Shall we discuss?
  12. How'd you make out on the hunt? I'm going to start another thread about the direct vs floating mount and set vs through neck. I apologize for the hack Kill John
  13. That came out nice Kill! Wes, you find the direct mount too woody for your tastes eh? Even with some extra mid scoop and a bit of low cut on the amp? I do like the way I can get endless harmonic feedback and at lower gain with the coupled pickups. Been floating the bridge and coupling the neck with maple, ebony, jatoba etc. shims. What kind of phenolics are you messing with if I might ask? Thanks! John p.s. Kill, where are the sound clips
  14. That's a good weight for that build! Glad you skipped the tiger myrtle veneer though as the chatoyance of the maple is the jewel right there. Bet that thing glows in the sunlight, eh? The thing sounds really good too... You nailed that tone quite well! Wont mention it to Axel or he could get mad
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