Omega

I'm curious if anybody has had the same problem as me. Basically, sometimes when I pick up my electric, 7-string guitar and play it, the strings are very elastic and easy to bend, which is what I like. However, at other times when I pick up my guitar to play, the string are very tight and difficult to play. This happens with all brands of strings and seems to happen at random. I have a floyd trem, as an FYI and the body is ash. Has anybody had this experience or can anybody offer an explanation? Could it be the changing weather temperature and humidity levels? I just want to ensure this problem isn't a set up issue. Thanks.

Correct. I would essentially raise the action of the 22-24 frets on the 7th. string only. Thanks for the reply.

I have a 7 string Ibanez, freshly re-fretted. I like fairly low action…so when I fret a note, my lowest string (.60 gauge, tuned way down to A) is buzzing at two points: against the next fret and at the 24th fret. I believe the buzzing is natural mainly due to the low tuning and low action. Also, my neck relief is perfect and my frets and 100% level (and my neck angle is good), as an FYI. My idea is to eliminate the buzzing at the 24th. fret; here's how: file down the 24th. fret slightly (and possibly 22nd. and 23rd.) and re-crown. Naturally, I would only file down the fret end where it crosses the 7th. string. This makes logical sense to me because I NEVER play the 7th. string that high at the fretboard. This won't eliminate both buzzing points, but I'd be very happy to eliminate at least one. Does this make sense? Am I not foreseeing a problem? I just want to get some opinions before I basically irreversibly modify the fret. Thanks!

Thanks for all the great suggestions. In fact, I'm going to go home for lunch (I'm at work) and check the depth of the slots, since I'm obsessing over the problem. I actually took some wood off of the fret board, so maye the slots have become too shallow. To note, I use a slotted pliers to bend the fret wire. It's harder than I thought. I'm not sure how 'perfect' the bend needs to be, but mine radius bends are typically always somewhat imperfect.

I just performed my first refret (bolt on 7-string Ibanez). After paying close attention to all of the 'how to' books, I'm still left with what a appears to be a problem (to me at least). After hammering in the fret wire, I've noticed there are some small spaces at the edges of the fret board (between the fret wire and the fret board). This spacing issue does not inflict all of the frets; mostly the upper frets. The space is about .25 mm or so. Please be aware the fret wire is NOT loose whatsoever, despite the spaces. I'm wondering if these spaces are a problem? I've done my best to eliminate them (ie, re-bend the wire, glue, etc.). However, the small spaces don't seem to go away. Based on your experiences, please let me know if you believe if I'm okay and can move on to the leveling process, or if I need to fix the spacing problem. Thanks.

Sounds like a good idea. Thanks for the suggestion.

I just re-radiused my rosebood fretboard using 220 grit sandpaper. My question is, should I apply some sort of finishing liquid to the fretboard, like Tru-oil, Lacquer, etc.? I have a few good books (including Stew Mac's fret book); however, none of them seem to discuss this. Thanks.

Thanks for the advise!!

Hello, I'm considering converting my Ibanez Wizard neck (7 string version) to a compound radius. The current radius is 17". Stew Mac sells a 20" radius block. I have three questions: 1. Can I simply use the 20" sanding block near the heel of the neck in order to achieve the desired results (ie, a nice, compound radius)? It seems like a rather simple procedure, which is why I'm concerned about doing it. 2. From a best practice perspective, does anybody have any suggestions at which fret I should 'start' the new radius (ie, 12th fret, 15th fret, etc.)? 3. Would a 4" or 8" length sanding block be a better choice for my project? Thanks.

Thanks for all the replies. The information really helps me out. The tung oil I used is from Woodcraft. Tung Oil I think I'll try adding multiple coats (10+) on my next go around and see what happens. If I'm still having the same problem, I'll try Minwax tung oil, as a few people suggested.

After sanding down my Ibanez Wizard neck (maple), I applied three coats of 100% tung oil as the finish. It felt great for a while...but pretty much rubbed off after a couple of months of playing. Also, I didn't pore fill, so I can see the open pores, for what it's worth. Does anybobdy have any suggestions? I'd really want to get the same tung oil feel back, but I want it to last. Thanks.

On my 6 year old Ibanez RG7, I was having major problems getting good pinch harmonics on my 7th. string (tuned to A). My frets are fairly worn and generally buzz when fretted (not open). When I raised my action a LOT, I noticed I got much better pinch harmonics on my 7th. string! My fretted notes are also much fuller when playing chords and more punchy on single notes. Has anybody had a similar experience with worn frets? I wasn't aware that worn frets can have such a negative impact on the tone and harmonics of a guitar. Bummer, because refretting is so much work (or so expensive). I posted a similiar thread at sevenstring.org but haven't received any replies. Thanks.

Thanks for all the great feedback. It really saved me hours and hours of work.

I want to add some warmth and low-end to my basswood Ibanez RG guitar (7 string solid body electric). Since adding a veneer isn't really feasible, I was considering putting some mahogany plugs into the basswood body (i.e., making some mahogany plugs using a 1/2 plug bit, then drilling holes in my basswood guitar body and filling the plugs). I was thinking 10 plugs or so in total should do the trick. Does this make sense? Will the fact that the mahogany plugs do not tough one another make a difference? Also, I've never heard of anybody using basswood and mahogany together, so I'm also a little nervous about this combination. Any feedback or opinions is much appreciated. Thanks.

I was wondering if there are any tonal or sound differences of a natural, oil finish (like Truoil) versus lacquered based finishes. Also, are there any sound differences between using a wood filler or NOT using a wood filler when using an oil based finish? I just finished a mahogany electric guitar using Truoil. I did NOT use pore filler since I was going for the natural, grainy look (three coats of Truoil--done). It looks amazing. However, I am having sound issues (the guitar sounds kinda mushy and dark), so I was thinking it might have something to do with my finish. Thanks.