perhellion

No, not the Ibanez one. I think that was three single coils near each other. The one I mean was made by Mighty Mite -- I found some references to it and a pic, but the pic was on some photo hosting site, so I can't post it. But is like a big humbucker -- three coils on one dull gold-colored baseplate with four feet instead of two.

Not the new ones, back in the 70's I believe, there was a triple coil pickup called a motherbucker. I can't find any pics, but I have found various references to these, so I'm not imagining things.

Is this how triple coil pickups - motherbuckers - are wired?

How's the string guide working? One thing that stopped me from trying out a headless bridge/nut was the narrow string spacing of any nut I could find.

Also, does this bridge/nut use regular or double ball strings?

Thanks

In Completed Projects, there is a Frankentele. It has one bridge pickup, made from two single-coil sized humbuckers taped together. The pickups are wired in series, so all four coils are in series. So what does this sound like? What if you used regular sized pickups in the neck and bridge positions, but wired them in series?

How does the pickup sound?

As another option, I've seen some cool looking sunbursts done with nothing sprayed at all (until topcoat). You only need dye and/or stain and cloth. All the colors can be applied and blended by rubbing with cloth. Granted, it looked like patience and practice would be needed, but they are free. After all, a sunburst finish was originally designed to look like a worn french polish on a violin -- which is applied by rubbing with cloth.

Did you make the pickup covers? Is that some sort of pick holder on the back of the headstock?

Just how thin is the neck, compared to something like an Ibanez Wizard? In addition to the carbon fiber "skunk stripes", is there a thin carbon layer between the neck wood and the fretboard?

Locking nut should hold fine, others on this board have used one to make a headless guitar.

If you are going with a solid color, it would probably be easier to fill the bridge humbucker hole and reroute it where you want it. Or fill the neck hole and go for a single coil, which would give you a little room to move the neck back.

Paul Gilbert's electrical engineer father ran his amp through a toaster to turn some extra watts into heat. And in typical Paul humor fashion, he made toast at early gigs.

For a low tech solution, put the amp in a closet with lots of clothes. Play with placement of the amp and how much the door is open. Eventually, you can get a good sound and a low sound level in the room.

Back in the summer in NC, I had a problem with high humidity. Did a little internet research -- turns out it is hot and humid in the south in the summer -- surprise. Anyhow, one interesting idea I saw (which, in my case had the disavantage of adding hot air but would be good for you) is to use a fan and ductwork to move air from the top of your attic to your workshop. The air is warm, dry, and nearly free.

Pic definitely clears things up. Any problems in the tight curves?

To the person doing the freehand tape, is it hard to keep a consistent thickness to the "binding"?

I'd love to see a pic of the cutter in the position it is in for cutting. I don't quite see how it works. For that matter, one of the scraper in action wouldn't hurt, although I think I get how that one works.

Thanks

True, big companies overlook each others infringements since they turn around and do the same thing. However, this means little guys like J.Frog get screwed here, since he doesn't have endorsement deals.

Back to the OP, how does labeling a Squier a Fender harm Fender? If he doesn't sell it or play out, no one will even see it. If he plays some gigs, becomes a local hero, etc. -- his fans will see "Fender" on the headstock and want a guitar like his -- so they will go buy real Fenders.

The guitar George Lynch has that is skull and bones was made by a luthier that goes by J.Frog. When Lynch became an ESP client, "J.Frog" on the headstock became "ESP", but ESP did no other work on the guitar.

I don't like the ghost builder ideas or a lot of the "celebrity model" guitars, because what you can actually buy is nowhere near as well made as what is actually in the artist's hands.

I just wish companies applied one standard, but they won't because they just care about the bottom line. Both "lawsuit" LP's and Slash's LP are legal violations, Gibson cared about "lawsuit" models because bought them and therefore fewer Gibsons. Gibson didn't care about Slash's fake because fans thought it was a Gibson, and GnR's sucess sold a ton of real LP's.

Back when I first saw Jake with that guitar (way before the internet), I, along with other young guitarists, assumed it was a Charvel. Charvel accomplished what they intended -- I thought Jake's playing was cool and his guitar was cool, therefore I wanted to buy a Charvel, not a modified 74 Strat. The point is, everyone is down on individuals using logos that did not come on parts, but no one seems to have any problem with the companies doing the same thing.

Modify guitar, add logo -- that is trying to fool Jake's fans. If that isn't a good example, how about George Lynch's Mr. Scary by J.Frog relabeled as an ESP, or the original EVH "Kramers" supposedly being built by Performance Guitars?

I've seen countless threads about adding logo decals on this and other guitar websites. I've just got to ask the folks here, what about the other way around -- big company puts their logo on a guitar that is not their product, for a celebrity to sell their brand. For example, Jake E. Lee's white "Charvel" was a Fender with a Charvell logo in order to go with his real Charvels from his endorsement.

I must say I am pleasantly surprised. I was expecting people to say thin was a tone killer. After all, there seems to be plenty of objection to swimming pool routes and weight relief holes, to name two.

Are they like SG thickness? I wonder how an SG would sound without any of the darker sounding qualities -- ie. with 25.5" scale, thin alder body, maple bolt-on neck, maybe a Floyd?

I was mainly wondering about the impact on sound.

As far as cheap goes, the Black Machine guitars seem quite well made. But in other guitars thin is for the cheaper model. Like the Squier Affinity vs. regular Squier or Melody Maker vs. Les Paul Junior.

CMA, seen the site, but I don't see an answer to "Why thin?"

What is the theory of Black Machine products? It seems that really thin bodies are usually something found in cheap guitars, but these are relatively expensive. I've seen nothing saying they sound bad, so what's the deal? Any direct experience?

I never thought about this until I saw some pics with this problem, but I never got a reply from them so I'm asking here. In the tutorial section, a sunburst is done by making a template of the body, suspending the template above the body with pushpins, and spraying paint around the edge. The question is, how do you avoid getting an outline of the head of the pushpin in the paint?