Crusader

You beat me to it! I wanted to get back and comment on that because most of what I said just now was pre-typed and it doesn't seem as if I've acknowledged what others have said So you don't reckon the nodes have any effect on the sound (I hear ya) I think what I've said agrees with that - for the bridge and middle pickup, but that neck pickup, its that neck pickup! In hindsight I should have called this thread "Neck pickup position - no voodoo" But most of my argument is based on experiments on the bridge and middle pickup It would be interesting to hear what "pro sweet-spot" people have to say. But this forum is all about venturing into new ideas and there wouldn't many here Putting my experience aside one thing that occurs to me is that prior to the popularity of 24 fret guitars, every manufacturer put their neck pickup at the 2nd octave node. A lot of those old guitars only had 20 or 21 frets. I'm pretty sure guys like Leo Fender would have experimented and not just do the same as everyone else. I've never seen or heard of a guitar that has the pickup further up than the 2nd octave node I can waffle on for hours but I gotta go cheers Doug

Yes pickup height is very important especially when comparing different positions, you have to keep it consistant (I have to confess its one reason why I spent so long experimenting!) Well I don't know why some people don't find "sweet spots" Dugg, what kind of guitars were you working on? Regular scale-length, baritones, bass guitars? And did you go past the 2nd octave node? (btw my name is Doug too lol) I haven't actually stated this yet, but I think the theories on regular scale-length guitars are out the window once you go past a certain length like baritone guitars and especially bass guitars (subject to further experimenting) I've looked at what I've said so far and its like a bit here and a bit there so I want to go over it again and a maybe a few new things (probably should have said at first post!) BRIDGE -I agree with what I read somewhere recently The harmonic points are so weak around that area and they're so close together that its just a matter of preference. And I also agree with Wez- further from the bridge, the warmer the sound - and I don't like it too close to the bridge either. The 61 Re-issue SG bridge pu is too bright (which is probably why I find some of Angus Young's solos a bit ear-peircing) MIDDLE (talking single coils here) - On a Strat is 100mm from the bridge which is not on a node, but move it too far off that point and you lose the unique Bridge+Middle sound I tried it at 1/6 the scale length which produced a similar sound and also quite unique but only over a limited area of the fretboard, from about the 4th to the 9th fret. I also found this if I moved the Bridge and Middle together (keeping distance between them the same) NECK - I haven't done extensive testing yet. But what strikes me is any guitar that has the pickup at 1/4 the scale length has a very distinct sound. And like my comments on the middle pickup if you move it you lose it (The area of the fretboard that gets that distint sound shrinks) The biggest argument against the neck pu sweet spot is that when you fret a string its no longer at 1/4 of the sounding string length. But re-stating what was explained to me, the string still vibrates up to the nut and therefore still has an effect I don't completely understand it myself and thats why I've done so much experimenting. But anyway let me put forward this theory; Maybe the neck pickup has that distinct sound at the 2nd octave node because - when playing open its at 1/4 the scale - when playing at the 5th fret its 1/3 the length of the string being played - when playing at the 12th fret its 1/2 the length of the string being played - when playing at the 19th fret its 3/4 the length of the string being played In other words no matter where you're playing its not far from a node

Yes its true that experiments are hard and also a pickup on rails is a good idea. I had a pickup on a moveable plate once and thats how I was able to move it millimetre by millimetre. And as I said before I spent hours and hours, day after day tying to make decisions. This was concentrating on the middle pickup though I think the "sweet spot" argument is mainly about the neck pickup and it probably started in the 1970's when lots of 24 fret guitars came on the market. While I was browsing around shops I heard the conversation many times. A customer picks out a guitar then realises its got 24 frets then procrastinates because of the neck pickup position. The salesman says the 'sweet spot' is only a myth just to make a sale. Maybe these days they want to sell more 22 fret guitars and reversed their story I'd really like to experiment more with the neck pickup but the neck kind of gets in the way! I believe if you install a single coil on the 2nd octave node then move it further from the bridge, it will sound warmer but not as nice

Well guys I think you’re all tone deaf – lol When I was messing around with pickup positions it was like tuning a radio Can I ask how much experimenting and what methods did you use to come to your conclusions?

I once had an effects box I think it was a Boss ME30 and it had a tone bender option in the pedal Why can't they incorporate this technology into a guitar's wiring and have a Gibson bridge so get the best of both worlds? Btw I was fishing with a mate once and we noticed nearby was a young lady. We got into conversation (as you do) and she reckoned she got into fishing cos her father was Greek Hmmmm!

Skunk stripe - I think its all a matter of experience and belief in theory The six guitars I've made so far all have solid Maple necks so I learnt how to router from the back and am considering to do the same on my next project which will have either a Rosewood or Ebony fretboard. If I decided to router under the fretboard it means I will have to re-learn everything all over again. I also have the theory that solid timber under the fretboard (no glue joints) would have a superior effect on sound Those skunk stripes are hard to make though!

I’ve seen people make comments that traditional pickup positions are voodoo or just sales talk, and there is no ‘sweet spot’ I think it’s a good topic to discuss and here are my thoughts on the matter I have done countless hours of experimenting moving pickups millimetre by millimetre and I find its best to stick to traditional pickup positions for optimal performance. I first did this in 1995 and again recently in 2008 and every time I come up with the same conclusions The odd thing that came out of all my efforts though is regardless of scale length, the pickups work best in the same place as regular scale length. For example I made a Strat Copy with a Gibson scale length. To get the best Bridge + Middle pu sound it was best in the exact places as a Strat which has a ¾ inch longer scale I also made a 28” baritone guitar and originally put the Bridge pickup at 1/16 of the scale to stick to tradition but it sounded more like an Oboe. After re-locating it to 40mm from the bridge (like a Strat) it sounded much better So my conclusion is there are two main factors affecting sound from pickup position. The distance from the bridge and the harmonic nodes. I totally believe the nodes are the ‘sweet spot’ so my ultimate conclusion is – Regular scale lengths between 24 to 25 ½ inches make the most of both factors To comment further - about the neck pu being on the 2nd octave node, some people have the notion that the theory is out the window once you fret a string. I had the same thoughts 30+ years ago but it was explained to me that even though a note is fretted, there is still some effect from the full length of the string Experiment with it yourself (undistorted is better) Play on and around the 22nd fret and switch between Bridge and Neck. I have to admit its hard to pick the difference but you should still get a warmer tone from the Neck pickup. And by the way when you play on the 12th fret the Neck pickup becomes the centre of the fretted string length, so the “node” theory ‘doubles-up’

I'm pretty sure the "Les Trem" is just the same as a Bigsby, just made by someone else...

You're absolutely right, I knew there was more to it but the memory fades! About a 100 years ago I saw a band from Rockingham called "Fury" and the guy had a Les Paul just like mine. During conversation I noticed there was a gaping hole in it and he said he had tried to install a Floyd Rose "But it just didn't work" At the time all I could think was, "Surely the neck is rigid enough to withstand the changes in string tension?" But over the years and the ponderings I'm like "Ah, yes of course!"

The Bigsby type of tremelo is only meant to give a "vibrato" effect and can't really do the full-on stuff like a Floyd. Gibson now make a Les Paul with a Floyd Rose. Its called the Les Paul "Access" It not only has a tremelo but a smoother neck-to-body join. I saw it online a while ago but I'm not sure when its available. The thing to keep in mind here if anyone's thinking about chucking a Floyd on a Les Paul is the string spacing The next question I ask is "Can you buy the Floyd Rose gear that's on this guitar?" If not I'm sure the suggestion from Wes is good advice, go the Kahler

You're onto something there!

I'm another guy with long fingers and a fat neck suits me better, and wider too One day I was playing a friends Flying V copy (I think it was a Formentin) and it had quite a thick neck but awesome action, and I thought that was more important. If you think about it a thin neck will would be more affected by heat, cold and humidity which affects playing action, would you agree? So thinner being "faster" doesn't make much sense to me On my favourite home-made guitar the neck is 22mm at the nut and 23 at the body join. And the width is 43mm at the nut and 57 at the 25th fret (I like a lot of room for the 1st and 6th string to move around) I find (for example) a Les Paul with binding on the neck too narrow because I often pull the strings off the edge. This is a major reason why I bought a Les Paul Studio, it doesn't have binding on the neck Another thing worth mentioning is neck profile. I was looking at Classical guitars once and one was really wierd as it was almost rectangular. The explanation from the salesman was it is a Flamenco guitar and I liked it Many years ago one of my Phys-Ed teachers had a Martin steel string accoustic and the back of the neck was what I call "bony" It was like V shaped in comparison to most other guitars. I could really feel the curve at the centre of the back of the neck which actually hurt my thumb

I made a Strat Copy and like Blackdog mentioned I used rasps and it was a breeze Its all about using what you have and what you're familiar with. And another thing, I made mine out of Brazillian Mahogany - Just lovely to work with! I have no experience with a spoke-shave because I don't have one but it may well prove to be a better tool than I Good luck with your build!

My computer's too old and sloooowwww (like me) for that "Cool Wood" thread but what I've seen so far - I'm totally drooling!

Hi there guy who is from "not Kansas" - so you must be from Nova Scotia lol Whats wrong with the gitar that u bought? Nah serious question If you gonna put in a fixed bridge, will it be a Gibson type? if so you have to put it on an angle for compensation

Do you want to edit the first post? lol

Oh yeah that's nice

Are you planning on doing a Maple fretboard?

I'm with Metalhead on this! I love natural timber

Looks like it has a veneer over the headstock, if so I personally wouldn't alter it and stay with the 24 fret neck (If you really want that BC Rich head shape) Here's something to consider that hasn't been mentioned yet Gibson SGs have the pickups set back from the neck (closer to the bridge) than Les Pauls 335s etc. Some SGs have 24 frets and as far as I know the pickups positions are the same as 22 fret SGs So if this body has the pickups in the same location as a Gibson SG then routering the neck pocket longer is the way to go in my opinion

Yes, in fact thats the way they make a lot of headstocks. However adding to something already made can be very ticky depending on a few things. What shape is the 22 fret neck's headstock?

This question sounds very familiar! I'm with Neil Beith, I would chop it off flush with the fret! (If thats what he meant...? and as long as the trussrod isn't in the way) If you really wanted to play it safe I would pull the last fret out and get an idea of how tight it is. And maybe make the slot wider if you think it needs it and glue the fret back in

Flat-out easiest thing to do is join the neck on "as-is" and position the bridge in the appropriate place (seeing as it hasn't been installed yet) If you are right-handed - REGARDLESS OF 22 OR 24 FRET NECK The bridge should be 24 3/4" from the nut on the first string side and about 24 15/16" on the 6th string side (this allows for compensation) But I would be concerned about the position of the BRIDGE pickup, so a couple of questions - Whats the distance from the centre of the 24th fret to the centre of the bridge pickup well?

If the bridge is already in place (holes routering etc) then shortening the neck or routing the body deeper seem to me the only way to go But it begs the age-old question - Do you want 24 frets or the neck pickup in its prime location? If you have the neck pickup under the 24th fret location (2nd octave node) you get a rich warm tone that can't really be achieved any other way On my next project I'm having 23 frets and with just a little bend you reach the second octave! EDIT: As j. pierce mentioned, make sure about the trussrod!

If it's shallow why remove it? Can you just shave it down?