westhemann

i use the same conductive paint i use for the control cavities...i get it from stewmac.it's just flat black so it doesn't reflect and i always have some on hand. you could use anything really

interesting...i was planning on using magnets for control cavity cover...and someone mentioned it in another thread,so i ordered them... 1/8" discs ...100 for $7...no more screws

thanks for that radiotrib...i was going to ask about magnets soon.

a floyd lo pro is just a sleeker version of the original...if it says floyd rose in big bubble letters,it's the real floyd...if it says liscensed floyd rose,it's not

you mean the locking nut?i am using a floyd nut

i use a brush to black it out

well...neck thru and set neck generally offer greater sustain...but on a neck thru with a maple neck and mahogany bodu vs the same as a bolt on,the neck thru will have a greater ratio of maple.. it just gives you more neck wood...different tonal charachteristics because of it. if both body and neck wood match(as in all mahogany),the difference will not be much...

ever see a bolt IN neck?i like it pretty well,though i have never tried it. basically the tenon extends under the neck pickup cavity,and the screws are set further towards the bridge...so the heel can be as nonexistant as a good neck thru,but you still have the ability to dissasemble

superior is the wrong word. the advantages of bolt on are obvious...being able to easily take the neck off to work on it and being able to finish the pieces seperately are great advantages. but i hate bolt on guitars.i can't stand the heel...even an aanj sucks compared to a proper neck through or set neck(notice i said proper)

man,i despise purpleheart. so many other woods are just as dense and way cooler...oh well,personal preference and all

i have not seen the pictorial you refer to...but i have 2 fret saws...one regular,and one with 2 short piecesof blade used to clean out glue after binding is installed...plus that little hook thing they sell...all of it is almost invaluable when i need it. i disagree...measuring is much easier to screw the pooch on by the way...grouping tutorials that are already pinned into another pinned topic is not an option.it all goes back to the basic idea of the forum....if you want a "library" mimf has one

i am not a big fan of leaving wood natural.no matter what the wood,it can generally be made to look betterwith a little judicious staining... i would normally say a nice amber translucent would really liven it up,but that godawful purpleheart really just puts me at a loss... not that that is particularly horrible purpleheart or anything...but i absolutely despise purpleheart altogether... i say do a barney inlay and dye the whole thing translucent purple to kill some of that contrast.. okay,the barney inlay is a joke...but i do think a purple translucent would be da bomb,and like i said,it will kill that horrible contrast.might as well just wear purple pants and a light brown shirt to match it but dude..clean up your work area...how you gonna do clean work in that mess?

okay...so thanks to the quick cure on this finish,i wasalready able to check it out...apparently i didn't let the guitar dry enough after cleaning,so a few spots weren't quite ready...i mixed up some more color coat and put another wet coat on,and it fixed it right up,no sweat...

well..something went wrong.i am not sure exactly what,but my sealer coats were on and looking good,i level sanded it with no problems,cleaned it thourouhly....and sprayed my color coat(translucent cherry red)...and it did not go well at all... i have to wait for it to cure and see what i can do about it.

well...it will be a bit before i get it strung.i just putthe paint on today and i had a serious mishap...i have to wait until it cures to figure out how major it is.

don't misunderstand me...i know exactly what you're talking about...and i agree it is a nice sound... i haven't strung up my kahlers yet...so i can't answer that...i really doubt it though,because even though there is space there,it is where the windings are on your strings...on a t.o.m. as you know,the windings are inside the tailpiece,and you are picking actual string there...i think if you do get a sound there,it won't be the same. everyone has their favorite sounds...i like to hit the bottom 4 strings at the 5th fret harmonic and dive on the bar...it screams down and then i flutter it beck up...i like to do this during stops (short pauses in the song),but like all specific little tricks,you can't use it everywhere,or you will be the only one enjoying it. do you just have one guitar?because if so i wouldn't do it...you have to rout a hole in the top for that trem and you will risk not liking it.most guys just keep a fixed bridge and a trem equipped guitar...one of each at least.one guitar will never have everything youwant...not if you are anything like me

i was wondering how long it was going to take you to ask

why did i write left?that's wierd.getting old is a bitch actually i was originally going to use a zr trem on this guitar...but fortuitously enough,kahler finally made it easy to get a trem from them...and at over $100 less and with such an easier rout,i would havehad to be crazy to not switch over. i play above the 17th alot...there s a real sweet spot right there for position playing....index finger on 17 and work your scales in that position...it really "sings" there...much like what you get at the 3rd fret

i don't know...there is some space between the saddles and the cam,so maybe.but how much can you actually use that sound?it's really very limited. i rake up on harmonics sometimes...especially on blues...but at least you have alot of harmonics to choose from there

say man..not to "harsh your gig" or anything...but shouldn't you be trying todo your own creative work? one thing i can promise you is that if you ask for artistic ideas from everybody else,your stuff will always be less than innovative. look around the net a bit....see if you can't get inspiration from mcnaught guitars,or esp gallery,or google pictures...combine some ideas,or just think in your own head what YOU consider metal. if you can't think of "metal" ideas...then you are not "metal" enough to use them in my opinion...in the 80s we would call that being a poseur...just letting you know.

well one thing is for sure. if you buy this guitar as a collectable,ibanez will then deem it necessary to put it into production,flooding the market and turning your $6000 investment into a $1200 mass produced thing that everyone on your block will then buy

well...i have 24 on all of mine...but i include better upper fret access for those extra 2 frets as well...but you are right...i hardly ever use the 24th. the reason i started using 24 fret guitars is that it makes reaching the 22nd easier...which i do use alot

okay..the exploder is sanded to 220 and ready to seal...i will seal it tonight,paint it tomorrow,and in about two weeks it should be hard enough to assemble

yeah...but we all agree that the upper range is easily accessible...so seeing that video shows that it is at least feasable to write music using all of the range...

the slapping in the video looked like it utilized all 9 strings.it did use all of the low ones...you can see he could easily drop down to the upper register if he wanted to.but it didn't sound like jon was upset at all...he just pointed out why we didn't know what we were talking about. i still have a hard time believing it would not be uncomfortable for long sessions...but if the music is good,then i am okay with it.i think it is probably most useful for the bass soloist.but hey,it has been shown that at least it does have a use.