lovekraft
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Everything posted by lovekraft
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Why dont you just get a project box and wire a DPDT switch as a bypass? Or use an old A/B box?
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Asking for a bass active pickup preamp project
lovekraft replied to _FR0D0's topic in Electronics Chat
Here's a homebrew bass preamp project:Andrew Maxwell Signature Bass Also check RG Keen's Guitar Effects Oriented webpage. Or try plugging "guitar effects schematics" into Google And if you still can't find what you're looking for, gimme a shout - I've got some other schematics buried somewhere in my "library" that might help. -
I'm with Drak, shellac is a great seal coat, easy to work with, and almost anything will stick to it. Zinsser has developed a universal sanding sealer called SealCoat, that I'm planning on using as a sanding sealer/basecoat on my next transparent finish. It's a pre-mixed dewaxed 2 lb cut with extended shelf-life, and it's "guaranteed to be compatible with oil-base polyurethanes, acrylic finishes, lacquers, catalyzed finishes and varnishes.". Lots of people still mix their own, nothing wrong with that, just don't keep it more than about 6 weeks after it's mixed. I don't french polish, but I've sprayed and brushed gallons of shellac on children's furniture, and it's both easy and fairly forgiving.
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Shellac isn't as hard as nitro - for instance, older classical guitars will often show fingernail scratches from being played. The upside is that it oulasts nitro by at least an order of magnitude, and even large areas can be repaired with a quick french polish. I've also never seen shellac check, although I'm told it can when subjected to extreme temperatures. The downside is that it's totally unsuitable if you play in a bar band. I've seen damage result from perfume overspray, and spilled beer will destroy a lot of time and effort.
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Here ya go, Nordic, House of Kolor Kandy in rattlecans. They also carry Adhereto adhesion promoter and SG100 topcoat clear in aerosols. And of course, Guitar Reranch carries a blue dye aerosol. Good luck
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French polish is a technique to get a high-gloss topcoat using shellac. Shellac is substantially softer than other finishes, and very susceptible to damage from heat, moisture, and especially solvents like alcohol. You can also spray or brush shellac and polish it to a high gloss. Here are a couple of sites with info on french polishing guitars: Millburn Guitars Hill Guitar Co. Wes, I've never used pigments with shellac, but it is done. Maybe a base coat of pigmented shellac with french polish applied as a "top coat"? The great thing about french polishing is that each session completely amalgamates with the existing surface, so it's basically a single coat, regardless of film thickness. I'd be really interested in your results.
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Amber to tangerine to brandywine kandy three color 'burst - out-Gibson the original! Or violin amberburst!
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Thanks for clarifying that, Brian. I hadn't been to your site in a while, but I thought I remembered you having real CTS pots in 1 meg, and that your pricing was better than Stew-Mac or Guitar Electronics. That's why I was so confused, didn't want to cause trouble, I was just afraid that my senile dementia was kicking up.
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Hey, Nordic, where did you find $20.00 pots? I figured about $3.50 to maybe $4.75 each, unless you buy direct from an electronics source, which should be even less.
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Guys, it's all maple, including the top. It's obviously designed to be used electric/acoustic, as in a stage guitar, so comparing it to high-end acoustics is as inappropriate as comparing it to a JEM. Anybody who's tried to get a decent acoustic sound live without loads of equipment knows it's easier to get a credible acoustic sound out of a dedicated A/E than it is to mike up your granddad's '43 D-28, even if it is the best sounding dread you've ever played. Shallow body A/E's are a growing market for working musicians, no reason why this is any less valid than, say, an Acousticaster. Do I prefer the sound of a pre-war Martin miked with condensors and run through an Aphex and a RNC? Absolutely! Am I gonna drag all that stuff to a gig at the VFW? No way!
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FWIW, Bluebook value (retail) on the 8080 Valvestate is $200CDN (average) to $325CDN (excellent), amd Prepal lists $295CDN as average Ebay price. Around here, you're lucky to get $200USD (ca.$262CDN) for one in excellent condition. I'd either offer a much lower price, or look elsewhere. The Line 6 Spider is one you'll either love or hate. Don't buy one without playing it extensively. Some people make 'em sound really good, but lots of folks don't http://www.projectguitar.com/uploads/emoticons/default_biggrin.png' alt=':D'> The Line 6 Dealer List covers dealers all over Canada - you might want to make a few calls.
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Look for 1 Megohm (sci-speak for 1000 K) audio taper pots - any good electronics supplier should have 'em. I use Mouser and Digi-Key, but there's hundreds of others. You might even check your local Radio Snark, if you can get past Howie and Shaq. And yes, a 1 Meg (or even 2 Meg) pot will boost the high end on any passive pickup. Ditto for tone pots, but you'll have to change the cap value for the same frequency response. If you double the value of the pot, then cut the cap value in half.
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Oooops! MJ uses a metal reinforcement -my bad! I need to learn to read a little closer. Sorry!
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Here's a wild one: Here's a closeup: Mark Johnson at MJ Guitar Engineering has been doing these for about a decade. No problems I've heard about. Of course, the stresses are different, but if this will survive, I dont see a notch in the headstcok presenting a real problem - Just leave plenty of beef, and I'd scarf the joint so you're working with flat grain. Reinforcing it with carbon fiber ought to make it bulletproof.
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The only recommendation is that it is a Richelieu body blank - if you don't like the shape, build your own, it's cheaper. If you always wanted a Richelieu, it's probably worth more than that, since it's about the only way you'll ever get your hands on one. Of course, if you're much under 35, you've probably never heard of Richelieu, in which case it's worth about $85.00 or so on Ebay. Guess it's all about perspective.
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Depends on who you talk to - Dean Zelinsky believed a huge headstock made for more resonance and sustain, Paul Reed Smith promoted the opposite view, and Ned Steinberger didn't use headstocks at all. All three have convincing arguments for their personal points of view, and all three have made some awesome guitars. Whatever you did will probably be just fine, but you may want to work out a plausible reason for it to satisfy the "Tone Police"
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Great tutorial! Simple, straight-forward and easy, and you nailed the color! You know, those Valiums always looked more green than blue to me too...
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Steve Rothery has his Charvel Model 6 for sale on Ebay - it's the guitar he used on Season's End and Holidays In Eden : Charvel Model 6 If you don't know or care who Rothery is, simply disregard.
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I've got a PowerTab of a live version with a fairly accurate solo transcription - if anybody can use it, gimme a shout.
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Don't tease - post 'em!
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Curves are cool, but pointies rule!
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Several furniture guys I know use thin CA to seal and harden the punky spots before final sanding on spalted veneer, and they're getting glass-smooth results.
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Whole Note has sweeping lessons that you can play online, and set the tempo, so it's a pretty good learning tool. There are a bunch of PowerTab sites that have a fair amount to offer - try PowerTab Central for an organized list of sites - The software is a free download
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Frank was a truly inspired guitarist, a great composer and an outstanding social critic - his iconoclastic wit has been sorely missed in the years following his death. Steve has also developed into a good writer, but he's an consummate technician and the complete master of his instrument. But for full-blown, balls-out, silly-assed rock wankmanship, all you have to do is check the original DLR band live videos - Steve sets his own standard, not only using every trick in the book without breathing hard, but grinning and posing the whole time! He and Sheehan were Rock'N'Roll embodied (well, maybe you had to be there)
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Can anybody here weigh in on "climbing" the cut when trimming a figured top to minmize tearout? I've got some experience, and a healthy fear of power tools, and was taught never to climb cut, but I was recently told that climbing the cut on the endgrain at the waist, lower bout and cutaways was useful for getting a clean edge. After having a buffer wheel try to sling me and a guitar across the room, I'm really not anxious to risk something similar with a tool that has a carbide bit in it - I've managed to keep all my fingers so far. If the workpiece is well-anchored, and my hands are on the other side of the guitar, I can keep the risks low, but is it even worth bothering? I could just bandsaw it close to my line, and finish the contour on my spindle sander - what do you think?
