camsna

I'm building my first guitar with a compound radius FB (9" - 12"). Should the nut-slot radius be 9"? 12"? Something in-between? Thanks! --- Cam

It helps greatly, however, my setup uses a 'megaswitch.' I just need that part of the diagram too...thanks!

i've looked EVERYWHERE! Please help me. i need to wire up an old guitar, thus, need a wiring diagram. The configuration is as follows: Single Single Hum Volume Tone 5-Way Allparts Megaswitch Any help is GREATLY appreciated. Thanks in advance.

thanks for the info. i went to that site before and they don't really have anything that applies. What he's got as an RJP (read...crappy local music store 1st timer) bass. It has what seems to be a humbucker with one volume pot and 2 tones. Or as far as he can remember that's how his controls worked out.

My cousin has a little POS bass guitar and his dad has wrecked the wiring. I know, esentioally, nothing about electronics. Can anybody provide me with a diagram for the following: 1 dual-coil pcikup Volume Volume Tone Any help is GREATLY appreciated!

Hey. I'm planning a neckthrough SG right now. Any pointers or plans or help you can offer? How'd it turn out? Feel free to e-mail me. camsna@gmail.com

So pretty...i ordered one just like it: http://wildwestguitars.com/suhr/large/suhr_stand_3765.jpg

um...anybody.... Bueller...?

Oh yeah....what should the dimensions of my neck blank be? I have to order the lumber...

Galleryhardwoods.com They're AWESOME. Very easy to deal with and they'll mill stuff to your specs.

I had considered a solid top but I think I'll just do wings. I plan on painting it all black anyhow. A maple cap might make it a bit more 'snappy' but Korina's a pretty spanky sounding material anyhow. I just have to make up my mind about a few things. Suggestions are welcome, BTW. Here's exactly what I'm thinking: Black Limba/satin finished neck White Limba body (painted black) Pau Ferro fingerboard string-thru/tune-o-matic bridge Suhr SSV chrome-covered pups I think the black limba neck would loock cool and sound bitchin' with it's white counterpart. Let me know what you think!

Thanks, man. This won't be my first project...but will be my first neck-thru. I always wanted an SG, so I'll make one for myself! Anyhow. I have the basic skill and understanding to do it. I just want to do it well. I'm thinking neck-thru for tonal reasons. I've only played a few with mixed results. But when done well, I think the neck-thru could be really tonally advantageous. Any pointers about unforseen, perhaps avoidable, stuations would be greatly appreciated. I already have a few unique ideas

So here's the deal, I'm going to build a guitar..here's what I'm thinking: Neck-thru SG Korina neck and body I just need a good tutorial on building a neck-thru because I've never done one. Can you help me?

Frets are often glued in with CA (super) glue. Heat will release its bond. So try this. Use the nippers that Southpa mentioned. They're important. Heat one end of the fret with a soldering iron -- then push a dab of solder into the iron, thus melting said solder. Then drag the solder bead accross the fret. It's easiest to apply solder on the far end of the fret and pull it toward yourself (safety glasses...it can splash). Give it a second to heat the glue. Then immediately pry the fret off starting at the far end and working toward yourself again. It only takes a few seconds to lift the fret. If done right this should result in no chipping...but should it occur, do what Southpa said. Keep the chips and glue them back in carefully. Let us know how it goes!

The audible difference is less noise. Connecting all of the cavities to the control cavities leads to an overall reduction in noise. That's it. About the paint vs. tape -- paint is more reliable as many copper tapes have a not-so-conductive adhesive, and paint won't peel up in the heat (if done right). So truth be told, shielding is shielding is shielding. I prefer to be overshielded than risk it. Also, I'm a stickler for how the shielding operation looks. As I said, this particular method lends itself well to rear route situations where haivng copper behind the pup is less than pleasing to the eye. .01% is .01ohms...just couldn't find the omega key on the kybd . Anyhow. I didn't mean to be contrary. Any method of shielding is WAY better than no shielding. Lovecraft, sorry for any offense. I didn't mean to get carried away. Please forgive me. JCH...just shield the thing. your pickups are quiet. You should be more worried about ground-shorts! Oh and which wire to use. Go vintage. There's no tonal difference, vintage is just easier to work with! Peace. Love. And bobby Sherman!

The wire is to connect the cavities to the control cavity. Again, more useful in rear-route situations. You just run a wire from each pup cavity to the control cavity on the back. Then paint over it. Or with a tele style where the control cavity is not routed with the pickup cavities. ALSO! I left this out, too. Place a strip of tape that connects the pickguard to the control cavity. It just has to touch the shielding in the cavity and lay flat on the top of the guitar (not sticking out of the pickguard, of course) so that the shielding on the back of the pickguard touches it. I guarantee, opinion or not, this is the best way to do things. I'm not speaking as a person who's stuck in 'his ways' or happens to think that my way is right. Because it's not my way. I did it wrong forever until my eyes were opened by an amazing and well respected Builder and electronics guru. The best players in the world trust him (mike landau, claptscott henderson, eric on, mark knopfler...) to build their axes, amps and electronics. Fact is, it's the best shielding method. Not inferior but superior. It may be overkill, but it works...better than anything I've heard before. I'm no world class builder...but the man I learned from is the best -- hands down.

Well...wire's cheaper than tape. So I like to conserve it. ALSO! Paint is more reliable and usually nore conductive. I've used copper based shieldng paint with 0.01% resistance! That's 100% flow. Anyhow. My scheme is more effective in connecting pup and control cavities on rear-route guitars (holes have to be drilled between the control cavity and each pup cavity). Also, it's good on teles where the control cavity isn't connected to the pup cavities. I know that some of the most respected botique builders in THE WORLD use this method. And it works. Well.

Yeah. Here's a tip....trade secret even. First, put a small square of copper tape in each pickup cavity and control cavity and connect all of the squares by soldering a single piece of wire to each square. Then shield over that with shielding paint. And put copper tape on the back of the pickguard. COOL!

Well. For the most part, mahogany is mahogany is mahogany. Sound varies a little bit but what varies most is color and figure. So figured mahog, which is SUPER cool, is way more expensive but tonally, very similar. What you run into with HomeDepot wood is quality. You have to deal with moisture content, board weakness, structural integrity (cracks, holes, splits). For your first couple builds..I say get it. it won't sound that great, but you'll need practice working with mahogany if you plan on building something out of it that's really nice. it's a BUGGER to finish. So for practice sake and for the sake of those bitchin' guitars you're destined to make...go for it!

AHHH. An Ed Roman thing! Hehehehe. Direct coupling does sound good, but it could be tricky on a 1st guitar. It's not all Ed clamis it is. It sounds good on his guitars because he combines direct coupling with his 'set/through' neck. But shoot! If you feel confident that you can do it, do it! It could be way cool. The butt probably needs to be wider than the fretboard as the p'up gets mounted to it.

No no. I dig the p90 sound. A buddy of mine just got a LP w/P90s and wants humbuckers instead and wanted to know if i'd do the body work. i'd rather just drop in a replacement! Thanks for the info!

can somebody reccomend a good humbucker drop-in for a p90. I know they exist. I just don't know who make them!

Basswood is a GREAT body wood. It's used by the mose elite boutique guitar manufacturers. Basswood with a maple top is killer. Almost a perfect wood combo. Bud if you make a basswood body, go with a maple neck. Basswood is not a good neck material, and it will sound like a marshmallow.

As far as the pickup rings, I just want them to blend in. Make the pickups look like they're hoovering. The body will be a natural gloss finish. An the rings will be raw and unfinished. If I don't like them, rings are cheap. I can experiment. I found the wood through Gallery Hardwoods. $65 for the 2-piece body blank. $45 for the top. I could have done a solid one piece for $130, but the slab was a little wet (10 or 11% humidity). Anyhow. i'm up for sugestions. This guitar will be pretty bitchin'. Especially with input from you all!

I FOUND the wood! I got a 2-piece black limba body and a 1 piece, one-inch-thick black limba top. Super sweet! I'm about to get to the building of this thing. It should be, well, challenging. It's a kinda unorthodox design and carving the top will be a real joy too. As far as hardware, haven't decided. I'm thinking about getting a Suhr DSH for the neck and a Suhr DSV+ for the bridge. Both chrome covered (with black limba pickup rings). Volume, tone, 3-way selector. All black hardware otherwise. String-through-body/tune-o-matic bridge setup (a la Schecter). Sperzels. Ivory nut. Wait did I say ivory? I meant, uh, tusq.