Jump to content

February 2019's Guitar Of The Month is now open - ENTER HERE!

curtisa

Forum Manager
  • Content count

    2,354
  • Joined

  • Last visited

  • Days Won

    94

curtisa last won the day on January 12

curtisa had the most liked content!

Community Reputation

617 Excellent

1 Follower

About curtisa

  • Rank
    Veteran Member

Profile Information

  • Location
    Tasmania, Australia
  • Country Flag
    au

Recent Profile Visitors

9,091 profile views
  1. curtisa

    Help with first guitar build

    Provided you are OK with using a soldering iron and are happy to cut the ends off some of the supplied cables that come with each of the pickups, you don't need to purchase the extra wiring kit.
  2. curtisa

    Reshaping Pickup Cavities

    What about direct-mounting the pickups but leaving the rings in place? The rings would then only be for looks but you'd save yourself a lot of work, give yourself the option of reverting back to the original pickup mounting method and allow for future replacement of the pickups if you wanted to.
  3. I think this ^^ deserves special mention (emphasis mine). You're a brave man.
  4. curtisa

    Mid position much louder

    You're still summing the output signals of both pickups despite them being in parallel, so I'd still expect some jump in volume with both combined. Parallel vs series is still a summation of two pickup signals but it's not a perfect 1+1=2 summation in either case. Series connection for the most part 'stacks' the two pickup signals on top of each other giving a big jump in volume. Parallel connection is more like going from one chorister to two choristers standing up side by side singing the same part. It may get louder, but not by as much. The phase relationship between the two pickups, the relative outputs of each, their distance apart from each other and the proximity to the strings will also have an impact on how perfectly they summate, which can lead to the discrepancy between what you expected and what you're getting from your setup.
  5. curtisa

    Trouble signing up

    On second thoughts, logins and passwords are probably the domain of the admin team. I've just sent you a PM to discuss things further away from the public forums.
  6. curtisa

    Trouble signing up

    Drop one of the mods or myself a PM and we'll see if we can't sort you out.
  7. curtisa

    Ibanez headstock shape ?

    Go single conductor unless you need shielded due to susceptibility to hum (long wire runs between different cavities, or from single coil pickups would be the only real ones to worry about). If your control cavity is screened/shielded and your wires are only being run within that cavity, just use single conductor - the addition of screened wiring inside the cavity serves no real purpose other than to make the wiring more difficult to execute cleanly. Stranded wire is better for longevity in situations where vibration is a problem due to the inability of solid core wire to flex repeatedly without breaking, but unless you're in the habit of diving into the moshpit every 15 minutes at a gig while playing the guitar you're unlikely to encounter issues with solid vs stranded wiring.
  8. curtisa

    Ibanez headstock shape ?

    Coil split on a push/pull plus 3-way toggle is pretty common. If you're installing two pots (say 1x vol and 1x tone) you can even have each pot split each humbucker independently to give you any combination of humbucker and split across either pickup. A short shaft pot should work in anything with a wall thickness of 4mm or less, so plan your control cavity depths accordingly. Short shaft is really a 'standard' pot which are normally designed to mount in thin steel or aluminium. It's us guitarists who are the weirdos who have a need for the long shaft varieties, and even then it's only a requirement where design necessitates a particularly thick mounting surface (an LP for example). You'll only really come across a few varieties of pot shaft styles - 1/4" diameter solid shaft (with or without a flattened section, sometimes called a D profile) or 6mm splined. The solid shaft versions are designed for knobs which have a perpendicular grub screw installed or a integral collet which clamps onto the shaft a bit like a router bit. The splined shafts are designed for knobs with matching knurls machined into the body which simply push-fit onto the shaft of the pot (think Strat-style knobs). Splined shafts can be either 18-tooth or 24-tooth, and they are not interchangeable. If you're making custom knobs up then it's up to you to decide what method to use to attach them to a shaft. My gut instinct is that you'll want to make up something that will work with pots fitted with 1/4" solid shafts, as it will be far easier to come up with something that will work with them rather than try to make something that will match an 18T or 24T spline shaft from scratch.
  9. You need to attain a minimum post count before you can 'unlock' certain areas and functions within the forums. The post threshold to be able to vote in polls is >10, whereby you're automagically elevated from 'New Member' to 'Member'. Historically this has been done due to issues we've experienced with people rigging votes in polls by having their friends sign up to the forum just to vote for their entry and skew the results unfairly.
  10. curtisa

    First Build - Silent Guitar

    The position of the bridge will be governed by the fret spacing on your borrowed fret board, nominally 2x the distance of the nut to the 12th fret plus a bit. The 'bit' extra is your intonation allowance on the saddles, which will typically push the bridge back further than 2x nut-12th fret, so perhaps this is the longer distance you've noted on the bridge when it was installed on the original guitar? The question of where exactly to position the bridge relative to the theoretical scale length comes up moderately frequently. You can look up some calculators that present some typical values of the the extra 'bit' in the measurements provided you're using certain hardware which takes the thinking component out of the decision (the StewMac fret placement calc comes to mind) . Or do some educated guesstimation to get you in the ballpark that works pretty much every time for any bridge - some discussion on the topic can be found here:
  11. I can manually elevate your profile to the Patreon group, but I'm not sure if it's meant to be automagically performed once you start donating to the ProjectGuitar Patreon page, for which I don't have access to confirm (and would likely start breaking stuff if I tried) @Prostheta would be wizard at the gates of the server room who would possess the knowledge you seek.
  12. curtisa

    Not Quite A Tele...

    It's amazing how much Lord of the Rings mirrors real life So @ScottR, when are you going to wrest back control of this thread of yours?
  13. curtisa

    Not Quite A Tele...

    Steal away, by all means. It beats the other analogy I was piecing together in my head, where the wire from the pickup is the Bridge of Khazad-dûm, the signal from the pickup is The Balrog, and the capacitor is Gandalf. An' Gandalf does this thing wiv' his staff and smashes it onto the bridge and yells out 'YOU SHALL NOT PASS!!!!'. An' the Balrog, he's all like 'Steady on, guv'. I was just goin' to get a little bit past ya to go an' get a Cornetto from the shops'. An' Gandalf is all like, 'well, if you;re gonna get a Cornetto, can I give you a coupla quid and you go an get me a Snickers bar while you're at it?'. An' the Balrog is all, 'Yeah, mate. I can go jus' this once for ya'. ...but then it all got a bit too complicated...
  14. curtisa

    Not Quite A Tele...

    The cap is still allowing highs to bleed to ground, whether the variable resistance of the tone pot is before it or after it, so it is nominally still a low pass filter (or high cut, whichever you prefer) whichever way it is wired up. The variable resistance that is the tone pot just makes it harder or easier for those highs to be swallowed up by ground. The bathtub can have a 0.5 inch diameter plug hole or a foot in diameter - either way the water is going down the drain. The only difference is how quickly it disappears. You're thinking of the situation where the cap is inserted fully in series with the audio signal and the resistor is connected across the audio signal and ground. In all the tone controls mentioned above, whether they're vintage 50s/modern/left handed/superthunderpatrolmeister etc, the cap is always connected across the audio signal and ground, making it a low pass filter. The only difference between the above diagram and 'modern' wiring is where the top of the cap on the volume pot is connected to. Cap to middle lug of the volume pot is the 50s scheme (as per above). Cap to left lug is the modern scheme. In the former case you're 'toning' the output of the volume control. In the latter you're 'toning' the pickup before 'voluming'. The Seymour Duncan article that @mistermikev linked to earlier may confuse things somewhat by also switching the lug terminations on the tone pot as well in the two diagrams presented. This difference between the two schemes is a red herring, as exchanging the case (ground) and cap terminations on the tone pot makes no difference either electrically or sonically:
  15. curtisa

    would love your honest first impression...

    My 2 cents, if you're still after opinions: I'm with Scott regarding the truss rod adjuster 'window' in the end of the fretboard. Looks a little unusual with the scroll-like fretboard end just behind it. Do you put a fret either side of it and leave a void underneath the playing area at the last fret, or do you leave an overly-large gap at the end of the last fret before the adjuster window and fretboard end? For all I know it may work, but it just looks a little odd. I dig the 3-a-side tuner arrangement, but the oversized truss rod cover (which I assume is a dummy one given that you're adjusting the truss rod at the heel) on an undersized headstock visually clashes slightly. What might be cool is if the blue flame maple cover is increased in size to encompass the entire headstock and is actually inlaid into the headstock face, with the darker wood creating a faux-binding effect. What about a 4x2 tuner headstock, which may ease the spacing a little on the treble and bass sides? At the moment the treble tuners are packed in pretty tight, whereas the bass tuners are quite gappy. F-holes aren't really my cup o' tea, but FWIW I reckon the oversized one could be shrunk a bit. Maybe 75 - 80% its original size? 4 singles - interesting choice. My gut instinct is to space them in pairs; push the two inner singles further apart leaving a wider gap in the middle. Gold trem with a silver jack socket is a cardinal sin What happens if you ditch the traditional front-mounted oval Strat jack socket and install an edge mounted one? With four pickups, an F-hole and a curvy fretboard end it looks pretty busy, and might benefit from a little 'de-cluttering'? ...but that's just me.
×