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About MattSA

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    Stratford, CT
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  1. MattSA

    Flame-Top Sanding

    Can someone tell me if it is dangerous to use grain filler on a figured finish? I am worried the filler might inhibit the display of the figure.
  2. MattSA

    Flame-Top Sanding

    Thanks a ton! Matt
  3. MattSA

    Flame-Top Sanding

    Great. Looking at the picture then would you consider these flames to be running perpendicular to the neck or parallel?
  4. When sanding a flame-top guitar is the grain perpendicular to the flames, or parallel with the flames? When I look at this picture the most distinguishable flames are horizontal, but there are definite vertical configurations as well. Thanks, MattSA
  5. MattSA

    Wiring Capacitors

    Thanks curtisa. Although I understand the middle statement above partially I am still a bit confused. I am working under the assumption that when I purchase a pot (specifically for a guitar) it can be used as either a volume pot or a tone pot. I am also aware that a capacitor siphons off part of a signal - storing it temporarily, but not returning it. When I look at various schematics, the capacitor is wired in different places. Ideally I would like to wire the volume pot after the tone. Will I still receive full volume after the signal has passed through the tone pot? The tone pot should be changing frequency (sound of the signal), while the volume pot should be changing the amplitude (loudness of the signal ). Should I wire the switch to the tone pot, wire the cap to the tone pot lead out, then directly to the lead in of the volume pot? This would not reduce the volume, before the signal gets to the volume pot?
  6. MattSA

    Wiring Capacitors

    I have been working on minor rewiring of a Washburn guitar over the past two years. I am comfortable with soldering and wiring, but have run into problems with my capacitors. The Washburn's sound in particular relied heavily upon the capacitor. Unfortunately when I replaced its humbuckers I did not make a schematic of the capacitor wiring before removing the parts. I successfully rewired after several configurations between the tone and volume pots and the capacitor; however I did not make a schematic of the wiring again, and have removed the components so I can refinish the guitar. I find it difficult to understand how the wiring works in the first place - if the volume pot reduces volume, why doesn't the tone pot also reduce the volume? They are both the same type of pots. I am fairly certain the volume pot reduces amplitude, while the tone pot changes the frequency of the signal. If I wire the volume pot before the tone pot, I can reduce the volume, but won't the tone pot also reduce the already lowered signal? This makes me think the tone pot should be wired first. I have looked at many, many schematics doing this wiring differently. I have tried many of them and most leave me with only the volume pot changing the signal. I have also seen wiring where there are two live leads from the tone to the volume pot, one with the capacitor and one without, but recombining the signal reduces the effect of the tone reduction. Can someone provide me a link or clear advice to how I should handle this wiring dilemma? MattSA
  7. Hey guys. I finally have enough time to start this project. Thanks for the great help suggested above. I took a photo of the rear of my guitar which shows the problem areas. I wanted to make sure before starting any repairs that the info I have is correct for my situation. As you can see my finger prints have marred many places on the guitar finish, and especially along the neck. I suppose this is due to sweat. I have purchased sanding pads (1500 through 12000 grit), Meguiar's ScratchX 2.0 compound, and a polishing attachment for a hand-held power driver. I understand what has been suggested above, but would like an experienced diagnosis of the photo - is this the right technique given the marks on the guitar? BTW - the flash on the camera does a great job at showing the marks, but makes the finish look like enamel - its actually some sort of semitransparent dark blue-green stain - the grain is slightly visible through the coat. I added the second photo to try and show the actual grain and finish.
  8. I am thinking about putting some new pickups in my Telecaster. Can someone recommend a link to a list of Vintage Fender Telecaster pickups (hopefully a list of ALL Telecaster pickups)? Id like some with a Bluesy feel. Any help appreciated. MattSA
  9. Thanks ScottR (and others). I have never worked on a finished guitar before so was reluctant to go right into 'sanding' the finish even with finer grades. Thanks for all the help. Matt
  10. Great - can you suggest what grit to start at before buffing?
  11. So you suggest an automotive buffing compound applied with micromesh sanding pads? Is this safe for a finished guitar - I would think any abrasive would produce more scratches then less? Can you suggest what grit range? Start with 12000 grit or finish with 12000 grit? Can I apply by hand or should I use a buffing wheel attached to power drill?
  12. You all probably get this question about once a month. I'm working on a Washburn that has heavy haze and swirl marks on the rear of the guitar. I have read some articles about removing these marks from car finishes, but am uncertain whether the same steps are safe for guitar finishes. Unfortunately I can't tell you whether the finish is nitro, poly, etc. It is an older model which I bought used between '95 and 2000. Can someone offer some advice or a link? Matt
  13. MattSA

    Feedback from Volume Pot

    I ended up pulling the bushing used by the bridge and replaced the ground. I'm currently in the process of completing the wiring so I can't say for certain this will fix the problem. I actually was messing around with the guitar before I started re-wiring and I noticed that whenever I touched the screws that attach the humbucker carriage to the plastic humbucker plate (used to attach the humbucker to the guitar) I'd get very large spikes and an increase in background noise of the guitar. To fix this I completely shielded and grounded all cavities. I think that the carriages will contact the shielding. Thanks for all the Help, Matt
  14. MattSA

    Feedback from Volume Pot

    Ok. I looked around for the correct definition of bridge type. It is of the tune-o-matic variety. I'm thinking that the white ground ran to a connected plate at the base of the screws used to adjust the bridge's height. Thus when the bridge was assembled the wires contact the bridge, the bridge contacts the screws, the screws contact the ground within the guitar body. Just a guess. I'm thinking that I will connect this wire to the volume pot and see how it sounds. Ill post later in the week. Thanks, Matt
  15. MattSA

    Feedback from Volume Pot

    This is what I thought. Unfortunately, the bridge is separate from the guitar. This is a Washburn and offers two double-coil cavities and a switch cavity on the face of the guitar and a tone/volume cavity in back leading to the input jack. The bridge is completely removed from the body. Any idea how I can ground the bridge/strings? There is a white wire leading to the tone/volume cavity which was once used for this purpose, but I cannot determine where it leads to or how to attach it. Matt