Mickguard

By real, I think you mean classic or vintage.

Yep!

I've got a fairly complex setup these days, using two amps --Amp 1 is the cleaner signal (there's a Tubescreamer in there too though).

Amp 2 is fed from a Y-cable from the Tubescreamer, then goes into a dual-looper, where I have a fuzz, an octaver, a boost (for the octaver), a synth wah, an echo (and a bass synth coming soon).

I use the looper mostly to clean up the chain, also to spare the shoddy switches on some of the pedals. About the only effect that I actually 'play' live is the synth wah (that is, I switch in and out of it during a song)-- the other effects really stay on for the entire song, when those effects are used. (The bass synth has an expression pedal input --I also have a photo eye jack coming, so that pedal will also be for 'playing' too. )

But it strikes me that it would be nice if I could re-route the signal chain at will-- because sometimes I like to apply the synth wah to the fuzz signal, sometimes I'd like to add fuzz to the synth wah instead, etc.

So does anyone know of a box that would permit that? Or would that be way too complicated to implement?

I am making a neck myself - more for the pleasure of saying I did it (because it's cheaper to buy a ready-made neck), but I wanted it to conform to the "standard" neck dimensions of a replacement neck for Fender Telecasters.

I'm not 100% certain of this, but I'm pretty sure the spec for a 'real' Telecaster calls for 21 frets with no overhang. And the heel is square.

The Fender 50s Reissue Esquire I have here measures out at 468 mm.

But what's most important to you is what is going to work with your project --- either the neck has to match the project, or the project matches the neck, if you see what I mean.

I've always had the feeling that 'wood glue' and 'Titebond' were pretty much the same thing, the latter being a brand name that, as brands tend to do, claims it is the best out there. But another glue with the same chemical formulation (since most wood glues share similar chemical formulations) will be equivalent. I use store brand wood glue, it works just fine (probably made in the same factory titebond has their glue made in anyway).

What wood glue does: it creates a secondary mesh of fibers among the fiber networks of the two pieces of wood. The glue penetrates the wood to a certain depth in order to create the bond. The glue's mesh is pretty strong --try to pick apart a dried up piece of glue --and the wood's fibers are strong mesh themselves (which is what makes wood solid). Combine the two and you've got a really strong bond.

But it's essential the there's a good join between the two pieces of wood (i.e., the greater the contact between the separate fiber networks of each piece of wood, the better the glue is able to form a 'bridge' between the two), and it's essential that the wood fibers are in the proper direction --it's why you can't get a good bond by gluing to end grain, because there's no similar mesh among the wood fibers there (since that is where the ends of the fibers are!).

At least, that's my simplified understanding of the process.

Meanwhile...

I cooked up a beef shank the other day -- I'd made the mistake of placing the shank with the flat edge of the bone to the bottom of the pot. The bone was apparently cut perfectly flat -- because it became glued to the bottom of the pot and could not be removed. I had to soak it for a couple of days before I was able to pry it off. Pretty impressive!

It wouldn't make much sense to have a rectangular pocket. The neck pocket is supposed to fit the heel of the neck, and vice versa. Since the heel should be tapered (because it follows the taper of the fretboard), it follows that the neck pocket is tapered as well.

So I'm assuming you're talking about the 475 hahaha. Would I have to buy it direct from Schaller? Wamoth doesn't say anything about a removable baseplate.

Yeah, the 475 is the one. I don't think Warmoth has anything to do with the plate--the bridge should come shipped in its own case, the plate is in that. I bought mine from a mail-order place in Germany.

Schaller sells a hardtail (465?) that's pretty cool -- you can set the spring spacing, and the saddles lock. And it comes with an extra base plate if you like a taller bridge.

A wraparound is a different type of bridge -- they stand much taller and for that reason usually require an angled neck.

I see no reason to rush the job with power tools. Unless, of course, you've got a half of dozen to finish in the next day. But one of the real pleasures of building guitars for me comes with carving the wood.

I like to use one of those Stanley surforms...the littlest one, with the teeth set so that you pull it towards you. This gives me lots of control over what I'm doing, it's pretty precise too, and it doesn't chew the wood up so much that you have to spend hours with sandpaper after. I also use a rasp for some points too.

I agree that the tele looks weird with a strat-style forearm rest. What I did was to add a slope to the face at the point --it's not really visible from the front, since it remains more or less flat. And it's not very extreme, just 5 mm deep or so.

Mick: like what, precisely?

Blah blah, you're just being contrary...as usual.

Anyway, another thing I like about bolt ons is I find them easier to finish -- it's easier for me to finish the neck and body separately, and I find it especially easier to polish each piece separately.

I think an important part of the equation is what feels the best to you while you're playing (and not what feels best to PRS, or Fender or Gibson, etc.). I used to prefer the feel of a Gibson -- I liked how the neck angled back toward me a bit, and I liked how the wraparound bridge raises the strings up high off the body. But these days I prefer the straight Fender style, with the strings lower to the pickguard. (I like the scale length more too). Personally, the neck plate doesn't bother me, but then I'm a rhythm player, I rarely bother with solos, don't like all them squeaky notes up high there.

By looking at your strings,they look to be to high of a gauge.Get some 9's or 10's and try that first.They should stay in, even with out string trees.

Pretty rare to find a strat/tele type guitar that doesn't need at least one string tree (without staggered tuners anyway).

Also weird: why do the string wrappings come out past the saddles on the bridge? Is this a string through guitar?

But if it's for aesthetics or to facilitiate heel sculpting, that's a different thing.

That's what I like about using inserts. You can still sculpt the heel as you like it, so you can keep pretty much the same look as a set neck. But you get the advantages of a bolt on. Which I think are significantly greater than anything a setneck might off to the guitar.

If you're really 'atimate' do a search, this topic has been discussed (I've wondered the same thing in the past). You'll find tips on how to go about this.

Just for your information: certain Gibsons (early LP Jrs., Melody Makers) didn't use a tenon, they used the full width of the neck glued in. It's just as strong and easier to achieve.

I used to think setnecks were the only way to go. I now prefer bolt on necks-- or actually, I like using these inserts in place of the neck plate. I think that provides a nice middle ground between the two.

I wouldn't use stripper. It'd take you about 15 minutes to get through the paint with 50 grit sandpaper.

Chances are there's a good sealer coat layer beneath the color -- you'll want to keep that.

I kind of like the TV yellow Lp Jr look though. You sure there won't be any surprises when you get to the actual wood?

I believe this should be moved to the Projects in Progress section.

I can understand the temptation to build with 'cheap' wood. Especially for learning to use the tools. It's a good idea to practice on the pine, sure. But after you've practiced each step, why not repeat it, but this time using proper guitar wood?

Wood IS cheap. A decent quality blank will only set you back a few more bucks and you'll end up with a playable guitar at the end. Certainly the price of the wood is very little compared to the final cost.

Well, for five pounds you have to assume it's an asian import. Doesn't necessarily mean it's plywood --actually at this point, I think plywood is more expensive than the balsa, I mean, alder they're using these days.

The wider neck won't be a big problem -- there are tons of necks from these guitars floating around. Probably the same guy who sold you the body will have the neck. But look for Cruiser, older Staggs, etc. Especially the full length 22-fret necks (no overhangs).

Of course you can also refill the neck pocket and route it for whatever neck you want to use.

Other issues:

1. You'll want to know the scale length --that is, where the bridge is in relation to the neck pocket. Because if it's set for a 22-fret, no overhang neck then you have to get one of those. On the other hand, if it's set for a 21 fret neck, you can use a 22-fretter and reshape the heel accordingly.

2. If the body truly is thinner, then you won't be able to use just any old trem. You'll need a smaller trem with a smaller trem block.

Don't see why not. What specifically do you want to know?

I often use a Tech 21 Tri AC (sansamp) for recording --it sounds awful through a PA, but pretty convincing recorded (lacks a bit of the low end balls you'd get from a tube amp, but software's available for adding that in again).

Build quality is kind of shoddy --the middle switch on mine gave out, but they're not real switches, so you can't just replace them with a new switch. One of these days I'll get around to complaining to Tech 21 about it. It's fine for using at home though, and not expensive.

I sprayed outside once and ended up turning my project into a giant fly trap... I'll never paint outside again.

You could turn it into a celebrity endorsement.

I've only sprayed outside during the late fall/winter.

But I set up a little mini-spray area in my garage, created an enclosure with plastic tarp. That really helped to eliminate any wind/dust problems. Of course I wear a respirator (and full clothing, gloves, even a huge snorkling goggles to keep stuff out my eyes). Spray runs rarely last more than a minute or so anyway.

How about concentric knobs? No need to change anything that way.

Have you considered a Line6 Variax?

Well, sure, that might help him out, but that's not what he's asking.

He wants to know if it's okay for him to buy a bunch of cheapo knockoff guitars instead of shelling out the big bucks to get the real deal.

And my answer to that is, since you're only planning to work in the studio, than sure, there's no reason at all to go broke on this project. And I really can't believe you need that many guitars. You say it's a metal thing -- so get yourself a metal-oriented guitar. Regardless, most of the metal I've heard (not much, admittedly, I hate the stuff) is so effects-driven, it hardly matters what guitar they're using.

And that goes for most music...very few people will be able to pinpoint the exact guitar they're hearing (barring a telecaster, maybe). Considering all the effects, amps, even picks involved in producing the sound. And the EQ and mastering software available.

Now, if you're going onstage, that's a whole other story. You're putting on a show --and no one (i.e., other musicians, the rest of the audience really doesn't care about this part of it) is going to take your show seriously if you show up playing one of those cheapo guitars. Much as I'm not into the brand thing in the rest of my life. And I don't believe you should have to shell out thousands for a decent guitar either.

You don't mention what amp you're going to use -- that's equally as important as what guitar you choose.

I was wondering, if dust gets in, can we sand it out? Or no?

If you're using nitro, chances are dust won't be a big problem --nitro flashes over pretty quickly, after 15 mins or so the risk of dust sticking in there is pretty small. Depends on how wet the coat is, but you don't want it to be so wet it'll drip anyway.

Just make sure the area you're spraying in is pretty clean with no wind. You can also spray outside.

No problems with the chrome. I put a piece of masking tape down before drilling, just in case.

I don't know about fitting four on there -- maybe if you can find an undrilled plate? Don' know where though. You can ditch the switch, the knobs will cover up most of the hole there.

Or try the plate from a jazz bass --they're already drilled for four knobs. You can reshape that to look like a tele plate too -- again, use masking tape to protect the chrome. After that, you can polish the new edges until they shine almost as much as the chrome --you'll barely be able to see the difference.

Does anyone know where you can find tele style control plates for 3 knobs? I looked online and was really surprised when I couldn't find any.

Thanks.

I drill my own --there's plenty of room between the two existing knobs. Helps to use the smaller size pots though.

So we do not sand this final color coat? I spoke to the ReRanch guys they told us use this 3M Machine Polish.

You need to spend more time reading up on this, get a better understand of the steps in the process before moving forward.

Polish comes at the very END of the entire process --they'll usually contain substances that will interfere with the nitro's adherence. You are NOT trying to polish the color coat. That's there only to give...color. You polish the clear coat, AFTER it has cured for at least a month or so.

Seriously, spend some time in the finishing tutorials section. A couple of days' worth of reading will make this clearer for you.

Then do some searching -- especially Maiden69's threads --he's posted some great info in the past that has really helped me out a lot.

This really has been discussed to death. Start searching!