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MikeMacSween

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  1. Thanks. I wonder whether that might be because of the situations the two methods are used. Strat type usually on bolt on necks, maple/alder bodies, single coil etc etc. Tom on mahogany bodies/necks, set necks/neck through, bigger humbuckers etc etc. And I don't suppose anybody's ever done a like for like comparison. By which I mean you can't just take a Tom off and replace it with a strat type bridge because (usually) the string height/neck angles are different.
  2. Sure, I know the difference in height. What I really meant was is there any difference in sound due to different string tension over the bridge, more/less body contact with bridge, different bridge fixing methods etc.? Thanks, Mike
  3. I'm wondering. What tonal differences has anybody noticed between tune-o-matic style tailpieces and (non trem) strat/tele style tailpieces. If I go for strat style I would probably use a hipshot (if I can find piezo saddles for it). Cheers, Mike
  4. I've calculated that the difference between a 15" radius fretboard and a 12" radius bridge would be 0.008968 inches, down the centre line of the fretboard. By which I mean that if you set the action on the outside strings how you wanted it, it would be 0.008968 higher in the centre. Not sure if anybody notices that. Why does Carvin make a 15" radius neck if there aren't any TOM bridges for it? I might end up going for the Hipshot myself. What difference in tone has anybody found between TOM and Fender style bridges? Mike
  5. Although the 'worst' difference between a 10 inch and 14 inch radius is quite a bit greater - 0.015395. Nearly twice the difference between the 15" and the 12". Also the opposite way round. You've got a a bridge which is flatter than the fretboard. I'm considering a fretboard which is flatter than the bridge. What does anybody else do? That Carvin neck is used by quite a few people. And a 15 inch radius board is common anyway. So what bridges does anybody use. According to the StewMac site pretty much all the TOM bridges seem to be 12" radius. Cheers, Mike
  6. The Stewmac/Carvin through neck I'm thinking of using for my project has a 15 inch radius. Most tune-o-matic style bridges seem to have a 12 inch radius. Does it matter? I did some quick math and if my trigonometry is correct on a 2 and 1/16 string width (at the bridge) the difference, in the centre of the fretboard is 0.008968 of an inch. Or 9 thou. Less than a 1/100 of an inch. And thats the worst difference (centre of fretboard). I can't imagine anybody would feel the difference. Any comments? Cheers, Mike MacSween
  7. Thinking about building my own guitar. Mainly as a duplicate of my current one, a Godin LGX-SA. But to correct some of the things I'm not happy with on the Godin. Namely no forearm contour, position of outputs (all 3!) and shape/size of lower bout. All these would involve hacking the Godin about, and I've just paid a fortune for it. I'm considering the options. The Godin is mahog neck and body, with carved maple cap and ebony fretboard, SD Jazz and Custom pickups, LR Baggs tunomatic style piezo bridge and synth output. I like the tone, most of the time. Full, warmish, woodier than my strat, obviously, but bright enough when I need it. So theorectially the thing to do would be to get the stuff from Warmoth and do the duplicate like that. But people say that through neck = more sustain and tone. People also say that maple is a very (maybe too?) bright sounding wood. And the only pre-made through necks I've found (Stewmac and Carvin) are maple. If I combined that with mahogany body (and mabye maple cap or laminate top) what sort of tone could I expect? I know that's pretty much a 'how long is a piece of string question, but I wonder if anybody's used a maple through neck on a project. Cheers, Mike MacSween
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