Jump to content

rubber314chicken

Established Member
  • Posts

    158
  • Joined

  • Last visited

About rubber314chicken

Recent Profile Visitors

535 profile views

rubber314chicken's Achievements

Collaborator

Collaborator (7/14)

  • First Post
  • Collaborator
  • Conversation Starter
  • Week One Done
  • One Month Later

Recent Badges

0

Reputation

  1. Could be something as simple as a dry solder joint. Anything that you soldered I'd again with a soldering iron to make sure the joints are all good.
  2. There are 4 ways that you could could coil split a humbucker: center leads shorting one coil to ground center leads shorting one coil to hot one of the leads disconnected from the coil (so the center set is connected instead of the hot, or instead of the ground) removing both ends of the coil from the connection (so only one of the coils is connected at all) Now, unless my electronics knowledge is wrong, from an ideal analysis view, those 4 methods yield the same result, and it is possible to select either coil with one of those methods. The issue comes into play that the real world is far from ideal. Our shielding isn't always perfect, wires are actually small value resistors, and so forth and so forth. This means that each of these configurations could have different effects on the sound, in that the unused coil could still be adding a bit of signal/noise. Is there a preferred method of the 4, or one that is generally to be avoided?
  3. I'm looking to make a setup similar to the petrucci wiring. I've got a 2 humbucker guitar, and I want a 3 way switch that has (neck humbucker)-(inner coils)-(bridge humbucker) as the function of the 3 way. Then, the tone pot is a push-pull that only works in the middle position. It is a series-parallel switch for the two inner coils. Problem is, I'm not seeing at all how those connections would work. Has anyone done something like this?
  4. I've just finish a guitar with the Norton Humbucker, and I'll agree that it does like to respond to noise a bit, but personally I like the sound. I've got in in the bridge position, with a Fred at the neck. If I had a way to record that would accurately capture the sound I would, unfortunatly I do not.
  5. I'm in the finishing stages of a build. I'm doing a 1 vol, 1 tone, and rotary setup, ala PRS. I've got no problem with securing the knobs on the volume and tone (the pots are split shaft so I've lined up the set screw with the slot.) The rotary switch, on the other hand, is a pain in the butt. I'll tighten the knob down, its nice and tight, but after moving the switch around a few times it becomes lose. In looking closely at the switch/knob, the knob has some movement, not axially, but it rocks, like a poorly built 4 legged stool. This rocking it whats loosening the knob. And ideas on how to secure the knob, short of epoxy? I would like to keep the easy removal ability that these knobs offer...
  6. The chambering is all contained under the arm rest area. I didn't want to extend it too much because I wanted to make sure my less than stellar router bits didn't destroy anything. Thanks everyone for the helpful pictures too.
  7. Working on a guitar. Currently it is 2.25" thick. 1 5/8" for the back and a 5/8" top. The back is this thick to allow for the rotary switch I'm using (and the 1/4" wooden cavity cover). I did some chambering, and the body only weighs 5.5 lbs (not bad for the size and materials). Anyways, because of this thickness, and I would like to lose some more weight, I'm looking at removing some material from the back, namely towards the neck end of the body. I think somewhere in the neighborhood of .5 to .75" would be good, especially with increasing the access to the upper frets. I can thin the back a little and still end up with enough room for the switch, but its not gonna be enough. Anyways, how should I go about working this into the back of the guitar? Aside from belly cuts I've never really seen anything done to the back of the guitar.
  8. Put it spring loaded in a hole so that it indexes as much as possible.
  9. Other than Steward-Macdonald, is there another source for these? I'd rather not pay out the ass for an oversize truss rod... I like the allied lutherie ones, but they only have allen keys it appears.
  10. So what method do you use now? Off the top of my head... -route the outer edge to a uniform final depth -if the pickup plane is to remain flat, mark off that area -doodle some topographic lines as required -hog off the bulk with a grinder -switch to chisels, planes, scrapers... you name it -fine tune with sandpaper I haven't done a tutorial in a while, but Jason Schroeder shows you exactly what I'm talking about in these photos... [PIC REMOVED] Thanks a lot, and thanks to everyone else too. That photo series was very helpful. I'll give the hand carving a shot, thought thinking about this more, I may end up doing a carve as I originally posted. We'll see what the top looks like when I start carving
  11. http://www.potvinguitars.com/oldsite/builds/090408/part03/ That guitar looks a bit like what I'm making. Actually, my body is closest to a Schecter C-1, but its still modified to have a slightly bigger top horn, slightly deeper lower horn cut in, and the armrest area is being toned down in size a little. Its Sassafras on walnut (well, the walnut is tentative as of now pending sourcing, but I like the contrast between the two woods). Anyways, useless details aside, I wanna carve the top. My plan is to rig up a jig like what the link shows. Except I want to change the carve on the horns. I like the PRS-esque carve extending onto the horns with the ridges. And the PRS-esque super deep carve in the lower horn. Is it doable using the router setup like that? I'm having a hard time visualizing the topography for that. Also, is is possible to use an angle grinder with a sanding disc to get that kind of carve? I've seen it done on more sweeping shapes, but I'm not sure about something like the PRS carve. Finally, in terms of cutting the neck angle on the body, cutting the neck tennon (its gonna be a bolt on) and routing for the recessed TOM and pickups, what order should that all happen in?
  12. We don't need to have the flake suspended from what I've seen. You lay down a coat of brush on and sprinkle it on the surface then aerosol over it. you spray a few more aerosol cans coats to seal it in then start brushing on and carefully leveling. I'm looking at this: http://www.tdpri.com/forum/telecaster-disc...uckocaster.html we don't want as dense of a covering, and smaller flake.
  13. black base coat and then the flake is in the clear on top of that. a few leveling coats and then it gets rubbed out and becomes shiney. I just need to know what paint plays well with what clear.
  14. My friend wants to build a guitar with parts from warmoth. I said I'd be able to help him finish it because I've done a good bit of woodworking and finishing. He wants it black with lime green flake. I'm unsure what paint and clear to use. I don't have spray equipment so I'll need to be able to get a few cans of aerosol clear to be able to encase all the flake. What paint and clear should I use for this?
  15. okay, thanks. I like a slightly thicker neck so I don't think I'll have much to worry about, but I just wanna make sure that I'm not gonna ruin the guitar.
×
×
  • Create New...