thedoctor

Yeah, but do the math. The low E (in the case of a six string, with a 2 to 2 1/2 degree angle from center-line and a outside string spacing of about 2" comes out to a whopping .01097" closer to the centerline. I wouldn't worry. Course, not worrying is probly why I can't get a bridge right the first time.

I think a couple of things got confused on this thread. The high E saddle at 75% of it's toward-the-nut travel is a good place to start in any case involving a hardtail or massively-adjustable, straight-across the strings bridge. Problem with TOMs is that the angle they are put in is approximately the correct intonation angle. In the real world you need to adjust both forward and backward from that angle and a high E setting of 75% toward the nut limits the available ajustment on the rest of the saddles to 25% further forward. Probly best to use 50% on a TOM and the fret/scale/post calculator previously mentioned. This high-brow, know-everything reply is coming from a guy who has NEVER got a hardtail on right the first time. Take it with as much salt as you can stand. I am so bad at it that I quit drilling the through the body holes until I have temporarily strung it up and intonated it.

So the man of color was a TRS jack? That should only be a problem if it was wired wrong. I use TRS 3-terminal jacks when it is all I have to work with and they pose no problem, at least in my case. Since you have had some soldering issues with this install, I reccomend you do a real thorough visual on all of your connections. A humm when you touch any hot with your finger is a good thing, BTW. It is now time to ask what kind of amp you are using to test and how many prongs are on the line cord that plugs into the wall. Sounds irrelavent, I know, but it matters.

Did you get the 501B system? Probly cause I think that is the only one they sell seperate. The treble control is not supposed to work in passive. Go figure. If you have the switches set for active and the treble cut doesn't work, I think Carvin owes you a new PCB with pots. Just to clarify, did it ever work?

Heck, he is gonna refinish it anyway. See if you can get the local Dominoes Pizza place to stick it in their oven for 5 minutes. No, no, huhugh, that won't work. Their ovens don't get that hot. With all the bolts out (if he left them in) put the neck in a forward strain so it WANTS to get out of the pocket. Buy a LOT of beer and sit there while you heat the back of the pocket with a hairdryer on medium. Drink the beer. Heat some more. If anything starts to come loose, quit drinking the beer and put more strain on the neck. When done, go buy new guitar.

Way to go! Embarrass the crap out of me! The only EMGs I can say I have had control over are 35DCs, 40DCs, PJs and one 45DC. Not what you would call BROAD exposure. I am mostly in love wuth their little "modifier" controls. Their VMC and their BTC controls impress the crap out of me. I suppose, to have any weight to my opinion, I should have more exposure to the rest of the stuff EMG makes but that is one of the drawbacks to being just one person. EMGs have a place in some peoples sonic heart but mine belongs to Bartolini! That and my wife is Italian. Mafia. Knock-down, dead-serious beautiful. Oh, so is my wife!

Have we checked that cord yet?

Well, the original question was what pedal is the most CLASSIC. The original pedal was not a Dunlop or any of those but the most CLASSIC, I didn't say good or good-sounding, cause the originals SUCKED, pedal I know of you can still get still sucks and it is a Dunlop GCB-95. I am not promoting it's purchase, use or geopolitical significance but it sounds as close to the crappy old pedals I remember as anything. Course, my hearing is NOT all that good, anymore. In a way, that is a good thing.

Have you put this thing together and tried it yet? Your answer lies in the first assemble of this axe. If it has never been assembled and tried, you cannot make a good decision. Shims and neck-pocket mods do two completely different things. They are not interchangable solutions to a given problem. Put it together, if you haven't already, setup and let us know what your action complaints are. At that point, your answer can be complete, concise and well-informed. Yeah, RIGHT!! Who's gonna provide that one???

Buy me a set of Barts and I will trade you for my EMGs, no boot. Great kinda fella, ain't I? Seriously, you can't even expect EMGs to sound like Barts cause they ain't SUPPOSED to sound like Barts. Barts have character, EMGs have uniform (kinda) waveforms. I will never take the EMGs off my recording studio bass but I will never build another new bass with them. May use their VMC preamp thingie but not the pickups.

MinWax CocoaBean wood stain. I use it to centralize the black color of fretboards that have been abused. You have to put it on kinda heavy and wipe the excess off after a day or two with a good thinner but the color is good and the penetration is great, even on dense woods.

I have used this analogy in the past to great affect, The tone woods are to a guitar (electric or not) what a filter is to a camera lens. The original "signal" is the same but it is modified or conditioned by the filter. The final output is the result of the original sonic value after "conditioning". You gots your daylight filters, your overcast filters, your white-balance filters, your long-exposure f-extending filters, etc. That be what tone woods do. SHIELDS UP, Mr. Spock!!!!!!! IMHO

GSR, you know that trip to the hardware store was gonna go well. Anyhow, is that one of your skinned axes? As a large fan of diamond plate, in general, I am allured by this guitar. Is there REALLY a full wood body under there? If so, WHY? That looks like a perfect project for my shop, minus the wood interior. Some Japanese metal sculptors made a 2-layer beast out of Al or stainless but it was WAY wierd looking. I think an all-welded Al Tele would be an excellant thing to try. We have the buffing and passivating equipment to do it in stainless but I think 6061 diamond plate with a good polish would rule! Does the wood body underneath add something, even when covered with sheet Al?

Before I dump my rather vast (not kidding) experience of the glo stuff that works with blacklights, are you SURE you don't mind having to use a blacklite to keep it going? I kinda thought LGM was gonna say it lasted, like, an hour but, 15 minutes? The most fun (I was gonna say funnest, but that's not a word) band I was playing with in the 60's was theXXXXX almost said it, shame, shame, and we all had some blacklite glo stuff but mine was the most expansive; amp, cables, axe, suit, glasses, shoes; down to an upright placard with my stage name, approx. age and sexual preference all in day-glo. Without the blacklight, I was a skinny little jew-boy that thought he could play bass. With the blacklight, I was MAGNIFICENT MOLE, Bass-player extraordinaire ! Still own the tux (with long tails) and the tennis shoes that glow blue.

Any symetrical tuner that can be swapped from post high to post low will give you two problems. In Hipshot's case (and many others, I'm sure) when you switch from high-left (standard) to high-right, the screw and washers that do the adjusting have to be removed and reinstalled. Two problems are the screw should have some retaining compound like Loktite put on the threads as you put it together the way you want it and the thimble/post to bushing friction should be checked to make sure you haven't just made a one-way crunchy, ie: a machine that goes CW better than CCW with tension on it. I really want to get called out on the floor on my next comment. I believe the tune-up to pitch vs. tune down-to pitch has more to do with the strings and the nut than anything else. Or if you have a trem. Shields up, Mr. Spock!! Incoming!! IMHO (Sulu is off today. The fourth and all)

To jump back a post or two, in MIDI, the R&D should be directed at a faster, more versatile sound generator because that is where the most complaints are? That is a question, LK. I am trying to figure this out because I have always assumed people were just not happy with using a keyboard controller and wanted the most guitar-like controller they can get. Something that measured as wide a range of guitar dynamics as possible. Bends, taps, attack, harmonics, etc. Oh, and don't forget string-slide.

LGM, just for information value, how long does that stuff glow in the dark? I REALLY like the binding!

Wow, that is not pretty. Rust. Makes it harder but there is one way left. Tape everything around the screw to limit further scratches and get a couple nails or a sharpened small center punch. Tap from the inside of the screw's former drive-slots in a counterclockwise direction. Your job here is not so much to rotate the screw as it is to keep the nail/punch engaged in part of the screw. Move around 90 degrees as you get a few taps in at each location. SLOW and EASY. You are tryingto loosen it, not turn it. After a minute or two, the rust should have powdered and (with luck) the screws should start to turn. If the nail bends, even a little, pitch it and get another. Did I mention SLOW?

Actually, it is a contraceptive for musicians, patent-pending. Not quite as effective as a full-time job, but clinically proven to be 89% effective, when used properly.

They make too many different nylon compounds to know the durometer of what you found. Use hardwood or aluminum(my favorite). The nylon you have may be a "sonic sponge".

Graphtec offers a system called Ghost MIDI pickup system. Might wanna give it a look.

Try some of your kidding on Wes and see if it improves his disposition. Hasn't worked for me and I work for him!

LK, I don't know what the kids do in your area of the country but I help one guy out that has 1400 watts per channel of Memphis Sound in his Explorer. I will not sit in it. I put about 6 farads, YES, 6 farads of capacitors in his supply line and two more TRUCK batteries with 2/0 welding cable feeding the amps. I have a modest Sony Xplode with 35 watts X 4 in my work truck so I can groove while I work in the rock quarries by leaving the doors open. That is WAY too loud to crank while you occupy the VEEHICKLE. The amp you want is available from Walmart for $42.00. Not a DIY project, in my opinion, as the HEATSINK alone will cost you twice that to buy seperately.

Uhmmm, GregP, who said you don't set intonation on a fretless? I would disagree but I don't like to start fights I can't finish.

Yes, they are a good thing when you date a women under 60!