thegarehanman

Not everyone feels like they need an eq pedal. I'm perfectly happy with the tone shaping my amp gives me, and don't be so quick to put down a volume pedal. You're obviously into metal, so maybe this doesn't apply to you, but a lot of people use volume swell. Personally, I think it's silly to have a volume swell pedal when I can just have a volume pedal. I like to be able to change my volume on the fly without fiddling with my guitar. As for a pedal tuner goes. I keep a boss tuner off stage. I've never had the need for a pedal tuner; I don't use guitars with tremelo or anything like that.

One way or another, that setup does wonders for me. And I can't say enough good thinks about those Liquid Sound pedals. They are just amazing, and they are a bargain too.

The breakpoint is always the same thing, but yes, it would be at a different place on a compensated nut. The scale length would NOT be an average. This is because all of the frets are still positioned using the set scale length of the neck. Say(for instance) you have a 24.75" true scale length. This would be considered a 24.811 compensated scale length(for TOM positioning purposes). The nut could potentially be compensated also. However, the frets are still positioned based on 24.75" scale. And it's the twelfth fret that is half the distance of the scale length.

breakpoint: Where the strings meet the nut closest to the fretboard

The wiring will not be 100% sealed in, but it will be mostly surrounded by shielding paint/tape. You can't really entirely contain controls on a hollow body, but this guitar will be shielded as well as possible.

EDIT:

And just to clear things up, there's a very good reason why I've made the stereo output go to two mono jacks rather than one stereo jack. What would you do if you had a guitar with a stereo output jack and you wanted to send your stereo output to your amp via a wireless system? Well, you would need a 1/4" male stereo to dual 1/4" female mono adapter and two wireless transmitters. If you ask me, that would look bad and I'd question the reliability of the setup. I try not to rely too much on adapters. The two mono jacks would allow you to use two mono transmitters with no adapters whatsoever.

I'm building this guitar with production in mind. I'm trying to make this something every player could enjoy. I'm as serious as a heart attack about starting my own guitar business a few years after I finish up my bachelor's at LSU. I want to get as much experience under my belt before that time comes. And I want to get in the mindset of building production guitars; at least I want to start thinking about what the consumer is looking for. That's the reason I'm using concentric volume and tone pots. That way, the player who likes to individually tune their humbuckers' tone and volume can, and the player who likes to turn the volume or tone of their humbuckers up in tandem can just grab both stacked knobs at once. Granted, everything I've incorporated in it(this project) is ultimately to put a smile on My face. I'm not trying to build the guitar that can do everything. I have a very strong jazz background(I live right outside of New Orleans); that's probably a big part of why this is a hollow body. I'm just rambling now...but knowing you guys, somebody will read it.

I'm sticking w/ the gold knobs on the pots and ebony on the tuners. Now if you could fine schaller tuner knobs in flamed maple for $31, maybe I'd change my mind. I don't think flamed maple knobs on the pots would give me the look I'm going for though. Anyhow, normally, wooden knobs for pots aren't too expensive. I appreciate the thought though.

Most 3x3's don't have graduated post heights, however, you'll be turning the knob backwards(on one side) to tune it if you use inline 6's on a 3 per side headstock. Also, the gears on the backside of the headstock will go up on oneside and down on the other. I would not suggest it, but it's your guitar.

If you have a cabinet scraper, use that instead.

Even better questions, did you slot and fret the neck yourself? Or did you install the bridge yourself(and position it)? Has your guitar been set up? Were the saddles adjusted to compensate and intonate?

we discussed this the other day. just find a place that does silkscreening and embroidering around you.

The closest to "natural" you can get without actually asking mother nature to warp your neck for you would be an oil and wax finish.

Man, when I went to put these pictures up yesterday and saw the site was down, I was bummed. Any, here they are now.

(Click to enlarge)

The back being glued on. Once again, zip ties come in handy when using spool clamps on an angled surface where they tend to want to slide off.

Here's a pic of the controls being test fitted before I glued on the back. While browsing Universal Jems the other day, I discovered that gold mini toggles actually existed. I though about replacing that chrome toggle switch that came standard with the active preamp for the t-bridge, but I think I'm just gonna keep the chrome. I've seen PRS' and (I think) some Fenders that have gold hardware and a silver minitoggle. If anyone would complain about this, it would be idch. What do you say idch? Oh...and I'd bet the "launch pad" is looking pretty sexy to you guys now, no?

I'm so happy with how the controls fit into the back. There's not too much room to make it look odd, but just enough to have space for wires without looking cluttered. If you look in the top right hand corner, you'll notice two holes. The larger of the two(on the right) is for the 6 piezo wires coming from the T-bridge. That's what the hole in between the bridge posts is for also. The smaller is for, of course, the bridge ground. The humbucker wires will just be routed through the body as it's hollow.

Here's a link to the bridge I'm using:

LR Baggs T-Bridge(Expensive, isn't it?!)

It's going to be switchable from stereo to mone. The piezo bridge goes to an active preamp that mixes the peizo signal with the passive magnetic signal(from the humbuckers)when in mono mode. The piezo bridge(which is supposed to give a more "acoustic" sound) combined with the hollow body should produce a really nice acoustic-like sound. Of course, I'll be able to take the piezo bridge completely out of the output signal or have that without the humbuckers.

As far as inlays go, I'm getting better with every one I do. However, I still have nothing on PG's own Craig Lavin(clavin). He is (in my mind) the undesputed master of inlay on this forum.

50gallons/week? I certainly hope you have some serious resperators and masks. Otherwise you're going to have cancer in about...meh...a week. Come to think of it, I think I already saw your setup on your site.

This post has been edited by jmrentis: Today, 11:08 PM

...and you said you didn't have your edit feature.

If it's glued correctly, no, not a noticable one.

Yeah, I use 400 or 600 between days. Normally I try to do it all in one session, but sometimes it just doesn't work out that way. Like I said, I've never had a problem with two packs. I've sprayed a lot of the stuff. I've done two cars, two guitars, a few amp cabs, and a bunch of other odds and ends.

I just finished drilling for my piezo tune-o-matic bridge and my schaller fine tune tailpiece. Man, you should see the holes I drilled for the piezo wires. It's just beautiful. Each saddle has 1 wire coming out from the bottom. What I did was drill a 1/4" hole, into the top, in between the 3rd and 4th saddles . This went 3/4" deep. I then carved a tapered slot from the 1st and 6th saddles towards the middle; this will make the wires look a bit cleaner. Then(and this was the tricky part), I took an 18" long 1/4" bit and drilled from the bridge humbucker hole through the very bottom of the hole for the piezo wires and into the control cavity without even getting close to the TOM or tailpiece post holes. I don't think I did this; I think a magical guitar building gnome came in and drilled the holes. I don't think I'll take a pick of this beauty. I think I'll be the only one to see it. It's more beautiful than the inlays, or the flamed maple or anything else on this guitar. I think I must be really tired, I just wrote a paragraph about a 1/4" wide, 6" long hole.

You give the poly a whole week before scuffing up? You are one patient man. All of my experiences with two packs have been very good. I leave it out in the louisiana heat and in two days max it's hard enough to be scuffed and have more sprayed on.

Best thing to do is to try and go the easy route(assuming it's reversable, which in your case it is) and if that doesn't work, do it the hard way. I would have done exactly what you did, touch up the dye and clear everything. The clear wasn't buffed when you layed on another coat was it?

My homemade pedal board:

If it's alcohol based, it's most likely a dye. If that's correct, you should be able to use it directly on wood or mixed with clear. I've never used a stain that wasn't water based before.

You should probably mention what pedals you have. As for the board itself, just make a board with handles and maybe a cover. Make it from whatever you see fit. I made mine from aluminum. Don't build a power supply into it, that's just an unneccessary amount of work. Get a daisy chain power supply. I use Liquid Sound's daisy chain and it works like a champ.

Well if your bridge is already mounted, than you're probably going to have trouble with scale lenght. That's a whole nother animal.

Do you have Melvyn Hiscock's "Make Your Own Electric Guitar?" It has a bunch of router templates in the back. Infact, that's the only thing I use his book for, ha.

Gracias