daveq

Anyone used one? Are the built in pickups to be used along with normal pickups?

Thanks, I was aware of it. I've actually been using the same method as Warmoth's neck blanks (the ones with the angle back peghead). If I were to use the method you suggested, I guess I would need to either paint the peghead or use a veneer, right? I guess my issue is that the ear will only be on the upper part making it visible from the side when playing. This is because I don't have a piece of birdseye wide enough. It wouldn't matter if I used the method shown above if you follow what I'm saying. The peghead would be similar (not the same) as a reverse hockey-stick if you know what I'm talking about.

I didn't think that was the intention. I thought he was going for everything up a full octave. I don't see how using the 12's on the bottom on a standard neck solves all of the issues.

I've noticed that many suppliers web sites talk about gluing ears on the pegheads as if it were a common construction technique. I have never seen this on a manufactured guitar but maybe I haven't been looking close enough. Any idea if it is commonly done by manufacturers? I'm considering a peghead for a guitar that will require more than the standard 4" width. Since I'm going to use birdseye for the neck, I don't know if I'm going to be able to get away with gluing ears on the peghead (I think it will show too much). My other thought was to just use hard maple for the peghead and leave the neck as birdseye (angle back peghead). I don't know of that's going to look strange though? Has anyone here tried this before?

The above quote is from the link posted earlier in this topic. I thought I read somewhere that a major manufacturer had done research on the neck-through/set neck/bolt on methods and found very little if any difference in sustain / tone? Does anyone else remember reading about this (from within ProjectGuitar)?

I'd be amazed if that worked. Check this site out. It may help in design. String Tension Calculator

I don't know how much money you are willing to invest but a bandsaw is very helpful when cutting a body shape. You can get by with a jig saw (I'm not very good with a jig saw so this is a bit biased). You'll probably want a plunge router but you can also use a non-plunge. Snag a small ruler (one that has 32nds and 64ths or mm if you're a metric guy) - they are usually available in 6" lengths which is ideal for this type of project. You might also need a long drill bit (12" length) to create the passage for the pickup wires. Are you planning on building a neck also?

Which one did you select and how many? At 10 (for the 4mm) it came out to $60.

I liked that one also. At $60.00 per neck, it's not gonna happen. thanks again for the links. I'll let you know if this stuff ends up being usable or not.

Wo, excellent! I wonder if it sands down ok? I guess the micro-mesh should be able to bring out a shine, right? Thanks Wes, that's a big help!

Maybe not, I took a closer look and they did make some subtle changes to it. I guess it just bothers me that these guys can produce such high quality instruments but don't take much time to come up with something original. For someone like me (building from my basement), who cares, but for someone building for a living - I'd expect some more design effort. Like I said, those guitars are very nice - top quality - I'm not putting them down for craftsmanship. They are not the only ones building look alikes either - I guess it's just something that's been building up in me. Sorry for the venting.

So the PRS design is based on the Gibson? Even so, the peghead, and everything down to the truss rod cover looks exactly like a PRS to me. About the silver inlay, I was thinking about trying some aluminum but I thought it may look too dull (not shiny like chrome, ...). Thanks anyway.

Thanks Wes, I couldn't find any info but from looking through that site I need to ask one more question: Don't get me wrong, those guitars look excellent - but how do these people (and many others) get away with the blatant copying of the PRS and other guitars? The PRS seems to be a very popular body/peghead to rip-off. Doesn't PRS go after these people?

Wes, I have a slightly off topic question about that guitar- What type of inlay was used on that maple fretboard? The lighting makes it difficult to tell but is that abalone? It looks silver-ish, which is what I am looking for. I haven't found anything yet.

Can you explain this? I'm not sure I'm following what you are saying.

Thanks for the info Derek, I don't think my problem was grain direction though. Just one side ended up getting little chunks taken out and I also believe it's from the router moving on me. I think the router was able to press into my guide edge (made of hardwood) just enough to bite into the wood a bit. I'm thinking about trying a metal lined template but since the sanding works - I guess I won't bother for now. Thanks for the help.

Yup, I have one, and used it to get close. After that, everything else is done by hand with that straight-edge/bar thinger. I was just poking around for other ideas. Sometimes (many times) I find myself doing things the hard way until I dig my head out of the sand to find out there is a better way out there. I'm surprised that more people haven't responded with elaborate jigs or something simple but reliable (like the belt sander suggestion).

Thanks for the info. I'd be happy with something that looked like chrome or silver but was easier to work with. I guess I'm dreaming though. Thanks anyway.

The more I think about it, the more I wonder how much basis those claims can have. The EMG does not actually produce the notes (such as a keyboard), so the guitar's construction must play a part in the final sound. The EMG as I understand it amplifies and filters the note. It must be the filtering that some people don't care for - either that or they just get confused by the active pickup concept and assume that the pickup is injecting it's own signal in place of the note detected by the coils. Anyway, thanks for the info on the demon. I knew that Gilmour used EMG's but I wasn't sure if they were the active's or passives. He does use a ton of effects but it's hard to argue that his sound lacks personality.

What do you guys use to create the edge taper when building a new neck? I am talking about the edges of the neck (about 1/8" from high/low string). I have tried several different methods and am currently using a long straight edge (precision machined) with some sand paper stuck on it. I rough it out with the bandsaw and then do the rest by hand. I have tried using the router with a pattern bit but I noticed that the cut isn't as smooth as I'd like - the router kept making little divits every once in a while. I think I could improve on this if I spent time on it but the sanding method works well enough for me that I haven't needed to yet. I'm just fishing for ideas for next time. Thanks, Dave

What about the screamon demon or the duncan distortion (I forget the model #'s)? How would they compare against the 81's? Are harmonics any easier with the 81 compared to these? I have read reviews about the screamon demon and some say it is weak - some say it has lots of personality (which I guess is the knock against the EMG's). I really love my 81/85 combo but I am considering going with the Duncans just to see what they can do. If you think I will be dissapointed, please let me know. FYI - My EMG's use a 18 volt system with an EXG circuit (which I hardly use at all).

Does anyone know where I can find some inlay material that would look something like silver or chrome?

This is a very subjective topic but I'll throw in my 2 cents - I was searching for a very long time for an excellent distortion sound using my Marshall Valvestate amp and Ibanez RG550. I tried out just about every distortion pedal made without any success. Once I put my self-built guitar together and plugged it in to the same rig I had been usign for years, I couldn't beleive it! The EMG 81/85 combo was the answer for me. It made a huge difference - great distortion/harmonics/percieved sustain,... I realize other pickups could do the same but if I had to pick one set right now, it would be the EMG 81/85's. I'm building some guitars now that will have Duncans and others in them. I just want to be sure that I'm not missing out on something even better. Try them out at a guitar shop if you can find them in a decent guitar. That's probably the best way to find out.

I've always tried to stay away from CA (super) glue when possible. A recent topic about cutting fret slots (a bit fiery - whew!) reminded me. It seems like CA glue sets very very quickly. When using it for fretting, what keeps it from setting while you're trying to get the fret seated properly? Suppose you need to adjust something or re-start while pressing the fret in - screwed, right? I know I ran into a similar issue when gluing inlays - I got it partially in and it stuck before I had a chance to finish seating it . So how do you keep that stuff from ruining your fret work? Do most of you use the technique where you apply the glue after the fret is seated? If so, doesn't that stain the fretboard when the glue gets apsorbed in? (Same question for inlays.) I'd appreciate any clues you can provide on working with this stuff. I have some experience with fretting so please don't confuse my question with needing help with fretting techniques. Thanks, Dave

I have both books. If I had to keep one and give up the other, I would keep the Kotch book. It seems to provide a bit more technical details but either book is good to have. I think having both would be a great thing for a beginner. I know they helped me quite a bit when I wasn't quite sure about something. Having two sources helps when you're nervous about doing something and two sources show a different view on it (both pictures and approach) really helps. Anyway, I would get the Kotch book first then get the other. Good luck.