TELEBOY

i have a samick les paul copy

brought to me by an individual

who is a serious player with limited resources ($'s)

the neck

with strings removed

& truss rod disengaged

has .060+ relief in 7th to 9th fret area

i have read of heating fingerboards

to soften the glue

with the neck clamped in slight backbow

to help correct this problem

i have the stewmac fret jig in my shop

as well as a fretboard sized heating blanket

which i use for fretboard removals

so the above technique

is easily doable

my question...

should i score the finish on the neck

at the glue line to prevent

fracturing the finish at that point

or will the heat soften the finish enough

to allow it to move with the slip of the fretboard

anyone here with any experience

in this area

thanks

ray

been jamming to

marshal tucker's

together forever cd

working on my comping

nice up tempo set of tunes

fairly simple progressions

i'm lovin ever minute of this

flatwounds, yuck!

On a lighter note, violins, violas, cellos, and upright basses all use ebony nuts. I would say that I'd be afraid of the strings grinding down the ebony, but if that were the case, upright basses would need new nuts often. So I guess it'll work. I have no clue what it'll do to your tone though. I guess that just depends on its density.

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i've shaped a couple of

bridge pads for archtops

from ebony

it's harder than

the synthetic nut materials ive cut

about the flatwounds

yea...it took a bit

of pondering before i tried em

i've got a set on my

epi chambered les paul

they thickened the tone

quite a lot

however like the nut material

if i don't like

change it

i love having options

i have a tele inspired project

that is getting close to being strung up

for the first time

it's a heavily chambered

core body with top & back caps

sound holes over each chambered area

all in black walnut

the neck is also walnut

warmouth's woods page says

walnut is not as stiff

as maple

but stiffer than mahogany

so i used it on this one for

visual continuety

slotted my first fingerboard

for this one

walnut also

ebony plugs for

marker dots

i'm planning to use flatwounds

for jazz on this guitar

anyway

i'm going to use ebony

for the nut

at least initally

& was wondering

if anyone else here

has tried it

& what were/are your impressions

thanks

ray

try www.jimdunlop.com

i buy my wire from them

they have a huge selection of sizes

if all else fails

dan erlewine has an excellent video

on scratch building a strat

every aspect of layout, construction, etc is covered

it's available from stewmac.com

i have an older crybaby

it's ok

wish it had more sweep on the sound

i'm lookin too

I got my Dunlop Cry Baby back in the early 80's. I spent years not being impressed by the sound that came from it. One day during band practice, the battery went dead. The bass player was in the Air Force and he slapped a military issue Duracell in there. I couldn't believe my ears. The thing was increadible sounding.

I spent some time experimenting with batteries for a while after that. I would peek at what was going on with an O-scope. The military issue batteries where hotter. They could deliver more current on demand. That was the big difference in the tone. Those batteries could pump out as much juice as it needed to so there was no loss in tone at all.

I eventually called Dunlop and asked one of their old timers out there about what I had discovered and he gave me some ideas to build a voltage follower to mimick what that battery was doing. I never finished that project.

could you wire it up to use a hot

dc power supply

rather than a battery

& acchieve the same effect?

Does he -really- need a guitar?

You must be joking?

Litch...what if he took your guitar and threw it in a swimming pool in a superstar tantrum, hehehe...(just kiddin' )

PS, you cannot save anyone from themselves.

Hopefully he'll work his way thru it

frequently if you could/would help someone

who has gone through a crossroads situation

as michael has

the results are not as beneficial as one would hope

in the article he admits that it all started

due to acute stagefright

he drank to loosten up

in order to perform

& escelated

then it led to pills prescribed

by a british md

don't remember the rx

but it was the same ****

that killed john bonnam

michael has to determine

at this point in his life

what his direction is

he paid the price once

in disciplining himself to learn to play

he'll pay it again

if he disciplines himself

to step through the door

get clean...stay clean

& once again be the killer player

who influenced so many to excell

perty happy with my rig

i want more time to play!

i have an older crybaby

it's ok

wish it had more sweep on the sound

i'm lookin too

i was just reading an interview

in the april guitar player mag

with george benson

one of the questions was

how do you come up with

fresh material

he said i go to my guitar every nite

even if i'm setting watching tv

i'm noddeling

when i hear something

i didn't play testerday

i work on that the rest of

the evening

it brought it to my attention

this is one of my biggest frustrations

as a player as well

it buggs me to be in a jam

when i'm in an improv state of mind

and nothing new is there

granted...when your workin

on cover stuff

or developing original material

that's taking shape

you focus on a predetermined

matrix to get it seamlessly under yer fingers

but...sometimes i'm just in the mood

for a new direction

and mr bensons approach

is also my approach

just keep the guitar

in yer hands as much as possible

which brings up another major frustration

that i have to spend so much of my time

attending to the bull ****

of the "business of living"

cuts into my playn time man

anyone else encounter this

playing originals. cd should be ready shortly.

that's what i really want to do at this point

met a guy at one of the music stores

who's a degreed audio engineer

he's gonna coach me through

what i need set up a little

system with my computer

& a burner

the concept of being able

to do some overdubs etc

is real exciting for me

right now i'm playing Beethoven's 5th. It sounds sooooo cool distorted!

that's really cool

i think classical stuff

makes excellent sounding

guitar music

i'm working on paganini's 16th caprice

interesting thing...

the melody & intervals are such

that instead of shredding it

as is traditionally done

i'm playin it as a power blues

type thing

and gettin off on it

like a fat rat

live to jam

Yngwie was making me laugh! He's gotten so pplump he can barely kick his leg up any more. And whta in the hell was he singing as the lyrics for voodoo child??? Great DVD

yngwye is gettin a little chubolla

too much good life i guess

oughtta jump on his perty blond wife

a little more often

& sweat some o that blubber off

i understand their is also an audio cd

from this years tour as well

three veeeeeeeeeery talented gentlemen

thats almost a poem man! cool!

yea i guess it is

thanks fer the compliment

when the jam realy gets goin

it's like i'm in a trance

almost bein out of my body

watchin me play

i hear the music

but i don't think bout whats goin on

i got a good jam partner

he's like the guy

in the old dier straits song

"he knows all the chords"

he can lay down the

groov from hell man

then i noodle around

what he's doin

then i'll do some compin

he takes over n does his thing

he likes to sing

knows a lot of songs

everthing from dylan to alice in chains

we work on that

but mostly we're improv

we just start off & see where it goes

my signature perty much

says it all

tape our jams...

got some really scary stuff

in the vault

he's on a frankenstein creation

that i built for him

through a 100w carvin head

& home built 2-10 box

i'm on one of several

through a blue voodoo 60w head

& 4-12 cab

use a couple of pedals on it

as well as a cry baby for more texture

fortunately...i'm in a house

& the neighbors on both sides

are real cool

YA THEY'R PERTY COOL

TELES' NOT ALL I GOT

BUT I GOT SOME MILES ON ME

& I SORTA FEEL CLOSE TO EM

ME & TELE'S BOTH BEEN AROUND A WHILE

KNOW WHAT I MEAN?

SORRY BOUT THAT

I DIDN'T KNOW

JEST WANT TO SAY HEY

HAPPY TO CONTRIBUTE WHAT I CAN