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sounds good to me. if that sennheiser is a 421 (long thin type with a grill nose) then try it out on the toms. sounds pretty nice. before you do any effects to it, send it my way and ill see if i can play around with it any.

going to be finishing my ebony/rosewood prs (in progress section) hopefully soon and im starting to think about what i should finish it with. the wood is so dark, espeically the ebony, that i dont want to oil it because i think it will make the grain lines, which i love, alot more mellow. my favorite result from playing around with scrap pieces has just been by wiping it down with denaturated alcohol. makes it nice and wet looking, penetrates pretty well, but doesnt to fake or to much of a coating. so what kind of finish should i do if i just want to enhance the grain a bit, and really make it look 'wet'. yet still not overdone so that it looks like it has an inch of clear over it. maybe a polish then a wax, then buff that? or a light lacquer? or just polish? thx for any input.

well, im using binding on the neck and headstock, and continuing it over the nut sides, so anything below the nut wont be seen, nor will the side of the nut for the most part. but i still dont want to skimp. custom made nut here i come. glued my fretboard on tonight. have pics tomm.

yup. exactly how many xlr's can you bring in on that yamaha studio interface? im not familiar with that piece of gear. strive to get the absolute best sound you can while recording. will save you hrs and hrs of headache later. i can also try to mix it if you want me to when you get done. what interface do you record on? DP, PT, cubase? while recording, you need to figure out whats the best pattern for the mics. on your overheads try omni first (the one that looks like "O") if you hear to much room bleed and noise then youve got a crappy room and try them just on cardioid (one that looks like a heart). your snare mic should def be on cardioid if you decide to use anything other than a 57, which is cardiod only. toms should be on cardioid too. kick too, maybe hypercardioid (heart with a small circle behind it) (cant do this with a d112). your snare mic should definately have a 10db pad, possibly will need a pad on the toms too. stay a few inches off the face of the toms. and on the snare try a 30 degree angle to the edge of the face. an inch or so off, also try doing the same, except more towards the rim. if you do the cymbals up close try getting about 3" away from the bell (center) above and below. might get a good sound that way. hope that helps. t ps-dont put a vocal mic on the snare, as close as it needs to be, and having a crazy swinging drummer, you dont want to destroy a several hundred dollar mic. a mic like a md421 or 57 can be run over by a truck and still have a killer sound.

i mean, im sure it works pretty decent for 400$, but just keep in mind those woodshops that resaw stuff are using several thousand dollar bandsaws. not that you *need* one like that to get by. but i wouldnt be expecting the same results. that saw will probably leave you with a good bit of sanding to be a good top, if you were doing alot of tops, i would consider buying/making a thickness sander. would try to stay away from a planer since a good one that isnt going to snipe thin pieces is quite expensive.

nice work on the truss rod access hole, very precise. props on that one!

how much do you want to spend? 14"+ in cutting height then your going to have to have a serious saw with a thick blade to resaw tops accurately. thats a difficult task.

you'll be fine with alder. i was just cutting ebony last night with a forstner bit and she was smoking up a storm cause the rpms were to high. just watch out for woods like ebony, rosewoods, lignum, rock maple, ect. alder isnt that tough well, for me, and im probably wrong, but i dont associate the insane sustain (not that a string thru will give you *that* much more) with a tele. if you do decide to go string thru then take your time on drilling the holes, you can EASILY tell if they are off a 32nd. and you dont wanna mess something like that up. make plenty of test cuts on scrap before you do the body. just a bit of warning. i think litch did one and it looked pretty sketchy cause he rushed thru it.

is that all the mics you have access to? since he is going to be hammering stuff harder than a jazz player. id make sure you had a few shure sm57's. probably your best bet on snare and high hat and ride close micing. what model AT's do you have? they make a few really nice mics, but their low end is pretty sketchy. on the minimal money end you could do snare with a 57, but a vocal mic 8" above and between the two toms with a pad on it. same vocal mic on the other tom, 57 on ride and hihat. then mess around with any small diaphram condensors for a overhead set a 3 or so feet above the kit, have to experiment with that though. on the bass your going to have problems. with any of those mics probably akg d112 is popular for a kick, and pretty inexpensive too. ive seen people micing front skin, back skin, foot off the back skin, or putting a pillow in the kick and laying the 112 face up in the kick. tell me a little more about the mics you have access to, model numbers if you remember them too. t

if you have to get a longer bit, just look around for one with a longer 'shank' thats what they call the lenght. also, what kind of wood are you cutting, should set up your drill press to the speed of the wood your cutting, else you can severely f* up your bits and wood real quick.

man, your tackleing a beast for recording! probably most controversial instrument to record. its all on what sound you want to get out of it. youve got the group that tries to capture each piece of the kit by using upwards of 8 mics, but when you do this you better have a good piece of gear to bring in 8 channels in a take at once. =$$$, else, your gonna have to mix it down thru a board, do your panning, and take aux's out or main LR out into your gear. the advantages of this is that you have more control over each piece of the kit obviously. a disadvantge is that you better have an ear for recording, of how to eq and sit eight channels of drums in a session, quite difficult to nail right. another disadvantage is cost, can have a 15k set of mics to record a kit in that way. then you have the traditionalist, Earthworks, http://www.earthworksaudio.com/ , is doing the '3 mic technique' to record drums. a set of matched overheads and one for the kick. a major factor in recording drums is the room though, do you have access to a half way decent room? doesnt need to be acoustically beautiful, but one free of huge flouro lights, ambient noise and reflections. tell me how much you want to spend to record, what kind of room you have, how big of a kit your recording, and what your interface is, also mac or pc. then i can tell you what might be best for you and give some good mic choices for you to follow up on. t

whatever floats your boat, but a dyed fretboard would look really nasty imo, to much of a change in color on to large of a piece that doesnt need attention.

learn how to take a joke, geez

thx for the reply wes and dev. i guess i have to buy a black horn knife blank now, cause the nut i got from lmii is big, and still isnt going to be high enough. great.

dont start off with 2000 if you didnt know that allready, unless you like sanding all day, depends on the finish of your wood at this point, but if its kinda rough, 400, 600, 800, 1000, 2000 would be a good step process. devon, i think he's meaning lead as in lead/rythmn not Pb

they are on ed romans site: http://www.edromanguitars.com/parts/lsrtuner.htm ed had this to say: "...want to blame Ed Roman because their tuners were defective. Ed Roman will not accept the blame for these tuners and Ed Roman insists that you deal directly with Linear String Rotation directly on any warranty issues. Ed Roman has these tuners on 2 of his own personal guitars!!! Ed Roman personally likes these tuners !!!!! " HAHHAHA ED ROMAN!! ED ROMAN!! man that guy must like his name

i think bartolini produces an 8 string pickup. if not, im sure they custom make anything you want.

haha cant wait for him to chime in with an excuse. this will be good.

huh? how thick is your body exactly?

lol. i just rough cut the neck out. deciding on wether to final cut the neck with the fingerboard glued on or leave it off. what do you think? also having problems getting the nut in there nice and flat on all sides. major pain and i just keep getting it lower in the channel, can you use a spacer *under* the nut or does it need to be a solid piece? thx t

why is this kids name 'saga guitars', yet hes asking about getting a kit for the first time?

nice gaboon is pure black, expensive as crap. macassar is striped ebony, cheaper but still expensive. *most* people oil their fretboards heavily or use the stewmac fingerboard dye, which turns it pure black anyways. sooo i dont know if you want to pay the extra $ and not be able to see a difference when you finish it. i got the 24 fret board from stewmac. part number 4655 i think. and its pretty dark to begin with, and thats 400 roughed out. edit: im using macassar on a neck/body back, check out my thread in 'in progress' if you want to see what the color of it looks like. however, my fingerboard from stewmac looks way diff, as you can see there.

im guessing your getting the 8 string idea from Meshuggah, so you probably allready know about http://www.nevbornguitars.com/ if not, check him out. nice stuff. also, just see what lenghts of reinforcement people are putting in those 5 and 6 string basses, if it will work for them then it will probably be enough for your tension.

hey dave, i might can be of some assistance here, being an audio engineer. both have their advantages and disadvantages obviously. nothing sounds sweeter than a beautiful sounding acoustical room with a full stack and a few mics on the cab and in the room. however, you could get a decent sound mic'ing your amp up close with either a SM57 (goes for about 75$ used) or a sennheiser 421 (about 200$ used) and then alter with eq, compression, verb, effects on your computer. do you have a decent computer setup to record to btw? mac or pc? ive played thru a pod pro rackmount before, didnt use it very long but had mixed feelings about it, i think you could get a couple of ok sounds thru it, to me it was more like a modeling amp, had flanger, chorus, amp and cab emulators too. to me it felt like they were trying to be be like "lets have a piece of gear that sounds like 40" rahter than a one piece thats killer on a few things. but, im sure you could mess around with it enough and get a good tone out of it. what kind of amp do you have also? t

you mean like Slipknot?