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curtisa

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Everything posted by curtisa

  1. One version of your design is a custom build. Two versions is practically a production run. You've sold out, man I say get your headstock rough cut to shape and hold up your nominated headplate over the top to see how it looks one way or t'other.
  2. Or perhaps even when in use. Complete with wind machine, flames and a cliff-top performance.
  3. SG Respin

    Speaking of shiny things, I always meant to ask you - did you ever finish your aluminium/timber hybrid build?
  4. Re-body of a Fender Rascal

    Never heard of a Fender Rascal before. Does the heel on the Rascal also have the same expanded treble side as your new body does? I bet you got some interesting looks from the neighbours while you were taking that pic. 'Watch out lads, Andy's taking photos of fence posts again...'
  5. SG Respin

    You're poking the hornets nest there, Carl....
  6. Godin A6 wireless/radio interference

    A 20+ year old guitar with an active preamp system was made in a time when the saturation of wireless technology was much lower than it is now. It's possible that the preamp was designed to accept and cope with interference of a much lower magnitude than what we experience today. No doubt if the guitar was re-released now the preamp would need to be designed to have a greater resilience to external noise sources. You've not specified whether this copper shielding is connected to ground as well, but unless it is grounded it will have no sheilding ability against external interference (and in some circumstances, can even make the noise worse). Other easy things to try: Confirm you have a fresh battery installed. Confirm it's not whatever you're plugging in to (amp, PC audio interface, mixing desk etc) is picking up the noise. Confirm your lead is good. Prevention may be the best cure. Put some distance between yourself and wireless sources. Turn your mobile and/or wireless router off at gigs or when recording. Years ago in the bad old days when I was still gigging, we had to remember to turn our old GSM mobiles off to prevent the inevitable bursty signals from being picked up in our amps and PA as the phone searched for the nearest cell tower every hour or so. It just became a default thing we had to do back then to deal with the issue. Contact Godin to see if they can offer any insight into the issue. It may be a recognised problem with the older A6.
  7. Neck extended heel

    No need to stress over the decision. Go with whichever way you feel is right and within your capabilities.
  8. Neck extended heel

    This video suggests they're machined from a solid piece of timber.
  9. Tone pot capacitors

    If the supplied value is truly 22nF, it won't be the value of the cap that is causing the issue. An easy check is to look for any markings on the cap. For 22nF it may have '22n' or '223' or 0.022' printed on the side. If the value is correct, then look for other problems that might prevent the tone circuit from working - a missing ground connection on the tone pot, missing wiring from the tone pot to the volume pot/pickups/output jack (as required), a faulty tone pot. The 'traditional' tone circuit used in most guitars is pretty simple - one cap, one pot and two connections. It's hard to get it wrong.
  10. Nice work, Andy, despite the last minute hurdles. It's a shame about the design flaws in the Schaller electronics. They've probably thought they'd done the right thing by making everything plug-and-playable for those people who aren't so good with a soldering iron, but in doing so they've come up with a system that isn't fit for purpose in the real world. If I'm using EMGs on a build I'll throw away anything with their quick connectors (except for the pickups) and hard solder everything else.
  11. PRS-like project(s)

    Interesting effect, I like it. It almost looks like what you'd get if you could apply gold anodising to wood instead of aluminium.
  12. Oak for body

    You can fill the pores of the timber with dark filler and sand it back flush to accentuate the grain patterns. Or if the timber has any quilting or fiddleback in it, you can combine dark dyes and stains followed by lighter shades to give you that 3D Paul Reed Smith rippled effect. In most cases, that's all you really need to start building a guitar
  13. Oak for body

    C'mon now. This wouldn't be a legitimate Projectguitar thread if there wasn't a hijack going on somewhere. Ahem... Carry on, @Flamesong
  14. One day we're going to see the whole guitar instead of just little glimpses of it.
  15. Oak for body

    @pan_kara is doing some interesting experiments at the moment on the differences in sound between a high-end Schaller Hannes bridge and a cheap no-name one on the same guitar. Very interesting to read about. That's actually one thing I haven't seen mentioned in any discussions regarding the differences in sound between timbers. A method describing how to remove that most variable part of the equation - the player. Some kind of mechanical contraption that replicates the action of a pick striking a string repeatedly with no variation between strikes would go a long way to validating some tests on the effect wood imparts on the sound of the guitar. The best I've seen to date is a ruler swung down onto the string from a fixed height.
  16. Oak for body

    Yep, I understand. I was being facetious (hence the winky-smiley face at the end of my comment). Maybe I should've said 'if you gave a drummer a guitar painted in an opaque...' I reckon there just wasn't enough mojo in your banjo. Or maybe not enough beer at rehearsal...or too much, even?
  17. Oak for body

    The argument there, in that case, seems to be that 'looks mean everything, the sound of the wood means nothing' (which for all I know, could actually be the case...) If you gave a player a guitar painted in an opaque colour and told him the body was made of Honduran Mahogany, but didn't tell him it was actually made of plywood, would his assumption that he was playing an exotic-bodied instrument influence his opinion of the tone? Or change his playing style?
  18. Oak for body

    I'd like to see the opposite extreme; to see what happens when there is no body. Ie, what would be the effect of running six strings in open air between two decoupled anchor points. The 'body' in that instance would have zero mass. What would the effect on sustain be then? Sounds like a pretty good philosophy. Taking it another way, how many times have you listened to a recording or been at a gig and thought, 'gee that Les Paul sounds sooooo mahogany', or 'I don't like his tone much. If only his guitar had been made of Alder'.
  19. Oak for body

    IMO there is not very much convincing evidence that timber x with density y and weight z will give more sustain than another piece of timber. A denser timber used in a solidbody electric guitar may increase sustain, but there are plenty of other factors that could influence sustain too - bridge type (trem or hardtail), bridge material, string anchoring (through-body or top mounting), scale length, string gauge, trem setup (fully floating, locked to body, number of pivot screws, block size and material), semi-hollow/chambered/completely solid body, any acoustic feedback you may experience while plugged into an amp, the playing style of the person using the guitar...Some may have a big influence, some may not. A lot of the 'tonewood' debate tends to vanish into directionless point-scoring and personal opinions. It's notoriously difficult to measure, prove or disprove anything regarding the use of certain species of wood in electric guitars. I personally suspect any differences in sustain between, say a rosewood fretboard and ebony fretboard will also be completely inaudible in a band situation. Could it even be measured in that situation? Acoustic guitars I can see value in selecting certain types of wood with a minimum stiffness and weight that might exhibit a particular resonance when struck. The whole body is responsible for the sound that is projected from the guitar. Electric guitars, not so much. Others may disagree with me here, and of course everyone is welcome and entitled to their own views on the matter, but I prefer to simply make an electric guitar using timbers that are stable and look appealing, and let the sound of the guitar take care of itself.
  20. Push-pull bridge switch problem

    I assume this 'bridge on' switch just adds the bridge pickup to whatever pickup combination is currently selected? Post a picture of your wiring around the push-pull switch and volume pot. I reckon it's a pretty easy fix.
  21. Four new rockers are coming to life

    That, to me, looks like a classic case of feeding the workpiece into the rotating cutter such that you're routing 'uphill' against the grain of the timber. There are ways of strategically changing direction when routing that will minimise (if not eliminate) this from happening so that you only route 'downhill', but you do need to work with cutters that have bearings on top and bottom. I made a brief write-up about this topic a while back. You may find it useful for future reference:
  22. Crate GT-100H Tube Biasing

    I reckon you'd be better off asking your question over at a forum such as this one. Biasing a 4x EL34 amp is likely to be pretty trivial provided you have the right equipment, take the correct safety precautions and accept the risks of working on your own amp. If anyone can show you how it's done, you'll have better luck over at the Music Electronics Forum.
  23. Any interest in a guitar specific CNC design?

    As long as you've identified them, it's a good start. Down here at least, 5mm and 10mm 'things' can generally be found that can substitute as spacers - aluminium flat bars and acrylic plastic sheets can be had in those sizes.
  24. Operation Shoestring

    Bridge looks to be made of copper, or at least a copper-plated non-ferrous alloy of some kind.
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