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christhegreat

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Everything posted by christhegreat

  1. It won't work since my guitar is a string-thru body style and I'd have to make routing adjustments. Any other suggestions?
  2. Hi. I have a Schecter C-1 Classic and I'm wondering if it would be possible to have it routed by a luthier to use a vintage tremolo... like a Wilkinson. I'd also like to know which trem you would recommend to put in this guitar. The fretboard has a 14" radius I think hwich is standard on Schecters. It would be gold, and I would prefer something modern looking but anyways as long as it's agood unit. I don't have any guitar with a trem for the moment and I find that I would really need one in certain occasions and since this guitar is one of my workhorse it would add to it's versatility and playability (I think adding a trem makes the action less stiff, which is a problem with this guitar, but I learned to live with it since it sounds so damn good on recordings). Thanks
  3. Hi. I have an Ibanez RG 570 neck which I really like the feel, but the Lo-TRS trem I had is really messed up. I know they neck and trem are both supposed to have a 16" radius, and I'd like to know if it would be possible to use a better replacement bridge into this guitar. I was thinking about a Floyd Rose Pro but I wonder if the radius mismatch will affect the action in any way. I'd like your suggestions and insight. Would it be possible to fit another kind of trem, like a Wilkinson without major changes? Thanks
  4. I found this item on E-bay, I'd like to know what you think. http://cgi.ebay.com/Replacement-guitar-bod...1QQcmdZViewItem
  5. Well, string tension should be more than string gauge and pitch, because the angle used to achieve the proper pitch changes. With a tune-o-matic, usually (because you can always bring up the stop piece) it feels more stiff. Two guitar with 10's, the same string action, but with different bridge types will feel completly different as for string tension. The tune-o-matic is gonna need more strenght to bend. Anyways, that's what I have come to feel with time, using both type of guitars. If I'm wrong tell me. But as for the main issue, the tremsetter. Even though it makes string bending easier, does it stiffen the main playing feel?
  6. Hi. I've got a floyd rose equiped guitar, and I'm having problems keeping in tune when palm muting or simply resting my hand while playing. I heard of the Hipshot Tremsetter, but I'm wondering if it will make the whole guitar feel stiffer. I mean I like the guitar because bends are effortless, super smooth, and I got other guitars with more string tension, stiffer feeling to play other stuff. So will the use of a tremsetter make the bends harder, let's say as much as a hard tail? Thanks.
  7. It's sad about the spalted, cause I REALLY love that wood. I didn't find the wood yet. I'm going to meet the luthier so that he understands exactly what I want, and check what ziricote he can find, and if it is olooking good enough. But on Ebay there is always about 20 pieces of ziricote, many of them have the right dimensions, they only need to be cut in half/bookmatched, and isn't pretty expensive. But if the luthier has some killer pieces I don't mind paying a lot, cause when I'm gonna have the wood choices done and the guitar built, I'll keep it for a LONG time if it nails the sound I'm looking for. But anyways, I'd need suggestions of alternative woods for the top. That Douglas Fir sounds interesting, where does it come from, sound like?
  8. Hi. I'm planning on having a guitar body built by the local luthiers. I have an Ibanez RG 570 AANJ neck that I really love. I have a design in mind but I need your advice as if it would turn out as I want it to. Shape: RG Archtop Dimensions: 1,75" at rims, 3" at bridge. Woods: Ziricote carved back, mahogany middle piece, and a Spalted maple top. Bridge: Orig. Floyd *** Need advice cause I'm not sure if it would kill much of the acoustic sound. Pickups: H-S-H (not sure between EMG's or the pickups I used in my previous Rg (X2N, Single, Breed Neck) Controls: 1 vol, 2 tones, 5-way, maybe EMG-AB cause I have one lying around The back and top would be thick, because I want them to leave their signature in the sound. I'm going for the same dimensions as a PRS Hollowbody: 1,75" at rim and 3" at bridge. It has to be thin near the borders 'cause I really have super fat guitars. I have an Epiphone Sheraton II and I play 5-6 hours per day, and I can't stand the sides poking me. First the wood choices. I really want to have a unique sound out of this guitar, so that people can recognize me not only with my playing style but with my trademark sound (that's how it works). In my normal day I have to play a lot of different styles, and I often do Studio. I have to be able to roll off the snappy sound to get at least a decent acoustic tone for jazz and latin. The Ziricote would help get better fundamentals, clearer sound with more volume, bring out the highs and lows (if I'm wrong tell me). The mahogany middle wood would add a little low-mid and warmth, and then the Spalted I really don't know. I was told it responds like maple, but since it's rotten maple it is obviously softer so it has a different tone. I read some people soak it with epoxy (!!!) to harden it, so I'm affraid it would kill the vibration and sound like cardboard. I'd like to have unusual harmonics brought up by the guitar top and the Ziricote, so that when I play distorted it has a unique voice. I prefer the hollow sound because id has a natural punch, attack and it really breathes. Add that to woods the make it scream. I chose Spalt because I love the looks, but I don't know if it owuld give me the distinct sound I'm looking for. Ok. Hope it's not too confused. For the bridge. I absolutly want a tremolo. Actually I have a Schecter C-1 Classic and while it does some things pretty well, I miss the RG's trem cause it's really useful. But I'm fearing the Floyd would kill too much or the resonnance. What do you think? I would have it finished thin clear finish, maybe a stain on top (tobacco sunburst). Also I'd like to specify I like the feel an RG has because it doesn't have a lot of tension on the strings, bends are easy, as are legato runs. So keep in mind the guitar won't have the sustain of a Les Paul, and the bridge choice will affect the string tension and feel. I really feel comfortable with both floyds and fixed bridges, but when I have a fixed bridge my complaint is that the strings are often hard to bend. I'm waiting for your advices. Thanks. Chris
  9. Hi. I'm in search of a lefty RG body, with aanj. I would prefer a Rg470, since I have an original floyd, HSH pickups, and an RG570 Neck, but I might be interessed in other models, as long as they have the AANJ. E-mail please, with pics. chris.goth@videotron.ca
  10. Hi. I checked each one, measured, put each other side by side. For the bass strings I have two 4 and a 3. For the treble strings I have two 2 and a 1. They all have the same height, shape, size. The total height of the tuning post is 1,125 in. for every tuner. I really don't understand why those numbers.
  11. The problem is that their website doesn't say anything about that. The installation instruction is in 6 steps, as dumb as put the tuner in the hole, screw the nut, use a screwdriver to screw the screw in the back, and insert a string.
  12. Hi. I just bought a set of 3+3 locking tuners from planet waves. When I took them out of the box, I noticed on the back of each unit there's a number. One 1, two 2, one 3, two 4's. I really couldn't find information about those numbers on the tuners. I'd need help to know which one goes with which string. thanks.
  13. I added a figured maple veneer on the body, stained it black, sanded, than stained red. Was great looking. I was applying the sealer, on top, the on the back. I did the back on a humid day, and the newspaper I used to protect the front fusioned with the sealer, so it ruined my job. Furthermore, to store the guitar, I attached the body and the neck, so that it would fit in a gigbag and take up less space, and realized the body got sanded off too much on top, so the neck was higher than the neck pocket. Next summer I might try to veneer a body again, but I'd be more careful when sanding the finish off.
  14. So, if I understand well, since my AANJ doesn't have a overhang for frets 22-24 (the neck stays attached to the fingerboard till the end), it would screw in, but it wouldn't work because it would change the scale length. I had a rg470 body before, and the neck and the body fitted perfectly, the holes were at the same place. Only that now the body is screwed up so I need to replace it.
  15. Hi. I have an Ibanez RG570 neck, 24 frets, AANJ, for 25.5" scale. I'm looking for a lefty body to have a tremolo type guitar to play, and saw on ebay this one: Ibanez S470 Lefty body Ok. Here's my question. I know it might sound stupid, but I'd like to know if the S470 Body, which is routed for 25.5" scale, but 22 frets, would fit my RG 570 AANJ neck, which is 24 frets. And if it doesn't fit, I'd like to know exactly why. thanks. And by the way, if anyone has a lefty RG body with AANJ to sell, contact me via e-mail please.
  16. What could cause contamination? Dust or something else? And yes I did leave it outside to allow it to dry and it might have got exposed to the sun.
  17. I used SS in a spray form and I get hundreds of small spots in certain areas, how can I prevent this from happening? So you're saying the tiny scratches I get are normal when I sand and that they'll dissapear when shooting the first clear coat? Now I feel kind of dumb. But still I want to be sure since I wasn't careful enough at the begining of my project and I had to sand the whole veneer two times; what a loss of time. thanks.
  18. Hi. I'm now into testing the sanding sealer on my scraps. I use Deft's lacquer sanding sealer on stained flamed maple. I did spray until the surface was smooth. Then that's when I had a problem. They say to sand lightly with #220. As I lightly sanded, the surface became full of scratches and whitish. I got scared and tried out sanding with 400 grit this time, and got less scratches but still enough so that it doesn't look good. The surface is now matte, and I didn't sand through the sealer. I'd like to know if it's normal that it becomes so full of scratches and gets whitish. I tried using a dry rag, no results. With a wet rag the surface got back it's normal color while damp. What sshould I do? thanks.
  19. Indeed I'm using a flamed maple veneer. I use alcohol-based dye. Ok. I did wet the wood and then sanded while wet, and it gave a not really deep finish. I'll give it a try on scrap, to see if it makes a difference, but the results I had without sanding are satisfying.
  20. I understand about the need to have a good figure in the first place, which I have. It's only that in a tutorial it was said to wet sand three or four times using 400 grit before staining, in order to reduce the grain raising. Staining
  21. Hi. I've read the tutorials on staining, and I was testing them on scrap pieces of flamed maple. I discovered some samples had almost no figure, while others had real deep 3d figure. I'd like to know which steps of the staining process could kill the figure like that. -Can it be wet sanding too much with 400 grit when prepping the wood? -Could it be if there's too much stain? I'm asking. Thanks.
  22. Great. I knocked on the wood and checked every little spot on the guitar and everything came out great, glued tight. I just hope I won't run against other problems. thanks again
  23. Ok. I checked again the veneer. It rested a couple of days. I tried to poke it with a pinhead, but no glue came out. I noticed the waving is only detectable when touching the surface, and looking at a certain angle. The waving is less than 1mm thick, and feels very hard, like there was too much glue under that part. I'd like to know if by sanding down flat I could achieve a good result. Also what's the ratio you use to dilute the titebond with water? The good thing is that I work in a hardware store so I'll get the clamps I need pretty soon at discount. I just thought I didn't need them since the tutorial seemed so easy to do. If there's no way to save the job, I'll grab my sander and do it again using clamps and a board this time. thanks.
  24. Actually I removed the ironed veneer. I practiced glueing on scrap and everything came out perfect, I suppose because I used small testing surfaces. This time I used the weight bag method like on the tutorial on the project guitar site. I spreaded titebond on both the guitar and the veneer, a nice coat, nbut enough so that I always see the wood through the glue, and taped the veneer along the centerline, then placed the weight bag (30Kg) on the guitar, making sure the weight was equally distributed. And yes I'm determined to get the veneering job done. For the finishing job I already got the color and depth I wanted with the stain. I'm only having trouble with glueing the veneer correctly to the body. But you're all great help, and I'll go get a book on veneering to avoid some silly mistakes I could make again. thanks.
  25. Hi. I glued a flamed maple veneer on a basswood body using titebond. After the glue cured, I noticed the veneer was waving a bit at some spots. I'd like to know what I could do to help it. I already tried using a cloths iron but it didn't really help. Will I have to sand back and redo the job? And when I'll glue the veneer how can I make sure it won't be waving like it did? thanks.
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