curtisa

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About curtisa

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  1. Moved to the Tech Area -> Electronics Chat section for better housekeeping.
  2. Broken ground between output jack and rest of guitar circuitry, or missing ground from bridge studs would be my guess. The hum and buzz from a missing ground on the bridge studs would clear up if you rolled the volume pot on the guitar to zero. A missing ground from the output jack would make lots of noise whether you had the volume up or down. Unlikely. Shorting the output signal to ground will result in a complete absence of signal.
  3. Don't think it can be done with that style of switch. I think what you need is something along the lines of a Oak Grigsby 2x5 way switch, where each of the five positions gets two independent solder tabs. Something like this: http://www.toneshapers.com/switch-5-way-oak-grigsby-2-pole-superswitch.html
  4. Spoke wheel adjuster trussrods are one option that can look quite neat. You've already mentioned that you may only install one pickup, so the other option is to add a little pocket where the neck pickup would normally be to fit a regular allen key. Yamaha do this on some of their basses: It's also easier to stretch the D and G strings apart at the body end to fit the allen wrench into the truss rod adjuster, than it is to stretch the strings apart behind the nut. This means it's possible to adjust the trussrod while still strung up. It's a little more fiddly than adjusting at the nut end of the neck, but a lot less fiddly than making up an adaptor plate to hold the T4M nuts, or having to remove the D/G strings to be able to fit the allen wrench in. Thankyou. As far as I'm aware there are no basic formulae for describing the optimum balance. I will say that without the headstock and the weight of the tuners, a headless guitar naturally balances differently than a regular guitar, Predicting what to change for better balancing based on body shape alone will be a black art, but my gut feel is that your body shape would probably be fine. Klein Guitars, for example, are designed primarily for balance and ergonomics, and they look far more weighty than your design.
  5. Sure - you could construct the neck that way. Essentially that's just building a neck and cutting the rest of the headstock off after the truss rod access. I don't see why it would be any weaker than a normal neck. It does mean that you'll have an unavoidable large gap between the zero fret and the string locks, and that you'll probably have to unstring the D and G any time you want to make a truss rod adjustment. Seems a bit at odds with the streamlined look and convenience of a headless guitar. But then again, if you had a guitar fitted with a Floyd Rose locking nut you'd have to unstring D and G to adjust the truss rod too.
  6. Piezo pickups do not rely on the conversion of an electromagnetic field to generate something that can be amplified. They rely on physical vibration to generate sound, and hence are inherently immune to electromagnetic signals. Mag pickups rely solely on sensing variations in electromagnetic fields, which makes them ideal for sensing the changes in the proximity of a steel string as it vibrates...and unfortnately ideal for picking up external noise from motors, radio stations, computers, light dimmers, switchmode power supplies, transformers etc...and us. I have no idea what's inside the Godin, but I would have to assume that it is something similar to the Graphtec Ghost preamp, where the piezo and mag signals are both run through the preamp where blending/volume/tone takes place, before being passed on to the two individual output jacks. Quite likely. A simple test to confirm this would be to plug in your guitar as before and check you have lots of noise, and then touch the metal outer case of your guitar lead while it is plugged in. If the buzzing goes away, the strings are ungrounded. Not sure. It's probable that the P90 would have to pass through the onboard preamp as the existing mag pickup does. However if the P90 is a true single coil you may end up with worse issues with hum and noise (I suspect that the use of a humbucker on this guitar is a deliberate design choice). Have you spoken to Godin to see if they have any advice on replacing the stock humbucker with a P90?
  7. If you're going to use the T4M hardware for your build, be careful how you plan the truss rod access. The T4M nuts need to individually screwed down onto the "head" end of the neck, and on a six string guitar the mounting screws of the D and G string locking nuts will be very close to the truss rod access. The risk is that either the screws won't have enough material to hold on to, or the screws will punch into the sides of the truss rod access. On a seven string headless I built using the T4M hardware I had to make up an adaptor plate to hold the nuts. The seven compounded the issue as the middle G nut was dead centre over the truss rod. The second time I used their hardware I made the truss rod access from the body end to avoid this problem: Most people position the truss rod so that the adjuster is pretty much directly under the nut, which usually places the end of the "bendy bit" about midway between the nut and the first fret. The rod doesn't need to run the full length of the neck. As there is so much mass where the neck meets the heel the truss rod would have no ability to bend that part of the neck anyway. On necks where the adjuster is accessed at the body end, the rod can't be positioned anywhere else but right at the heel, so there's a short section of the neck at the nut end that doesn't get the support of the truss rod. However, in practice this isn't really an issue, as the unsupported section is only a couple of inches long. Probably the simplest thing to do use use some dimensions from other guitars you're already familiar with. I spent a lot of time searching for "optimum" dimensions for the first neck I ever built, but in the end I realised that I already had necks on factory guitars in my collection that I could use as the basis for my first attempt. After I built a few more I got a feel as to what worked and what didn't and branched out from there with my own set of baseline dimensions.
  8. More food for thought. This thread seems to be from someone who modded their Godin A6 to allow the mag pickup to work without the aid of the 9V battery and preamp, but ended up with hum and buzz because of the ungrounded strings. As the strings appear to be normally ungrounded in the Godin (acoustic guitar-type bridge has no way of providing a conductive path from each string to ground), the preamp must have some onboard smarts to reduce the inherent noise from the mag pickup, so plugging in to the regular mag output without a 9V battery will give odd results. In addition, installing a direct feed from the mag pickup to a third output to try and bypass the preamp will result in hum and buzz, as there is still no ground on the strings.
  9. I have no experience with the Godins, so I can only speculate what might be the issue. It sounds like a grounding problem, but I note that some people on the internet mention that the mag pickup passes through the preamp first, so unless the 9V battery is installed you may get strange results. Other people mention that the strings are infact ungrounded, and the pickup needs to have special shielding in order to be hum-free. If the pickup in your guitar isn't the original GAHN1 unit this could also be an issue. @ScottR - We Australians have mastered the art of time travel and are now 17 hours into your future. You can thank me yesterday
  10. I was under the impression that Stewmac were trying to encourge us to be 'real men'. Real men, as we all know, don't need instructions to program the VCR to do timer recording, erect a four-person tent or adjust a fret slotting mitre box
  11. Quite possibly, but at the time I bought mine (a couple of years ago maybe?) it came with a noticable lack of accoutrements, with the exception of the allen wrenches to adjust everything.
  12. If it's any consolation @Andyjr1515, the Stewmac mitre box that the G&W one is based on didn't come with setup instructions or integral clamps either.
  13. For the most part I'd say it's a question of personal taste. There is no such thing as optimum scale length vs string guage when considereing a players' preference. If you prefer the tautness and/or tone of a 46 on the low E of a Strat and the looseness of a 10 on the high E of a Les Paul, then perhaps look at a scale fan of 24.75" to 25.5". My only real advice is to avoid really large scale fans for the hell of it. A six string guitar with a 25" - 28" fan may seem like a good idea for higher tension on the lower strings, but it will be a dog to play due to the severe angles the frets will be at the extremeties of the fretboard.
  14. It wouldn't be a Project Guitar build thread without a few hiccups to deal with. On the upside we get to milk a few more bagpipe jokes while we wait.
  15. I'm saying that as a starting point the high E saddle is moved nearly all the way forward, the bridge installed to the scale length based off that one saddle and everything else can then be adjusted for correct intonation from there without running out of adjustement range on the saddles. It doesn't actually make that much difference which saddle(s) you pick to move forward when placing the bridge. As long as the furthest-forward saddle is used as the initial placement it will work every time. The reasoning for using the high E as the basis is that it will require the least amount of intonation correction in order to play true in every position, whereas each lower string will require increasingly more compensation. By positioning off the high E you've giving yourself enough leeway for the remaining lower saddles to continuously be pushed further away from the nut to compensate for the increasing intonation errors that the thicker strings will have. Wouldn't matter. Irrespective of the string gauge, string material, action or base scale length, the string length still needs to be increased to slightly more than the nominal scale length to compensate for intonation innacuracy due to the bend the string must undergo when being depressed onto a fret. The bend increases pitch, which must be compensated by increasing scale length to offset this behaviour. On a guitar that was already built and set up for a certain string gauge, and the player wanted to switch to a different tuning or string gauge, I can see that some saddles may want to move forward, but the resulting saddle position will still be [scale length] + {a bit]. The low E will need the most compensation of all six strings. Trying to predict how much compensation without knowing what strings will be installed, how it will be tuned or how high the action will be set is nearly impossible (but perhaps guessable). However, assuming that the high E will be the closest to the actual scale length is a safer starting point. I'm not familiar with the story so I couldn't say - what gauge strings does he use, does he prefer to use new or old strings, was the guitar damaged, was it built correctly to begin with, did he know what he was doing (taking a Dremel to a custom sounds a bit extreme), But if anything it sounds like he would've been trying to get more backwards adjustability on the saddles to get the detuned A and E strings to intonate properly.