Bjorn.LaSanche

Thanks, I have only seen the D'Addario one before and that one is fairly proprietary.

Two years ago The drummer I was working with up and left while we were working on our debut album. I had spent a few months trying to edit this guys drum tracks and unless I was prepared to completely program ALL his tracks from scratch there was no way to finish recording. After a month of tossing the idea around, my drummer told me to program something easy and do a cover and go from there. We both love Discharge, so I came up with 4 of their songs and let him decide. He chose The Nightmare Continues. I programmed the drums in about a day, went to his house the next and recorded the guitars and bass. Told him to come over a day or two after we tracked rhythms to help run the DAW for vocals ( I was actually going to have him do them as he has a better voice for that style of music.) Once he came over, I handed him the lyric sheet, sat him down with my iPod and told him he had 15 minutes. This is the result LaSanche covering Discharge's The Nightmare Continues

Digital download of our demo from 2013 here https://lasanche.bandcamp.com/releases Was also released in pro pressed cassette form via Gruft Produktion if you prefer physical copy Contact them here gruft@interia.pl I believe the physical copy is roughly $7 US + shipping

Not to necrothread, but if anyone here runs into a tech problem regarding any Ibanez stuff that cannot be answered here, drop a line to Rich at ibanezrules.com. He is probably the best resource online for modern era (from 1988 or so) Ibanez instruments. He has been able to provide me direction when I was in a jam on a couple of things regarding my guitars. He won't hold your hand though as he is busy on his own work.

Curtisa, I haven't been on the forum in a while. I noticed this calculator for string tension you posted. Is that a new forum app, or your own design? Thanks for the info in advance Sir.

I am replacing the nut on my bassists abomination of a stringed instrument. the previous one I think was made out of more dried CA, than bone. I have the nut so it sits in the slot with a nice tight fit, made the fret board radius mark in pencil. Drew a second line above the first showing me the fret height off the fret board. Now before I screw this up, I would like to draw a line that shows how far above the fret height, I should use as a stopping point of filing the string slot BEFORE I start the fine tuning filing of the slot. Most places I have looked at give advice to measure the height of the fret wire and roughly .015"-.020" above the fret board radius line as a good starting point. Meaning ok you can hog out nut material to here then stop, change mental focus to detail work and start finalizing shape, slot angle, etc.. These have been all for guitar and I have used them on several guitars I have replaced nuts on and works quite well for me. This is the first bass I have done. because this bass had the shitty nut from hell I really could not get a good reference of the distance between the top of the fret wire and the bottom of the strings to judge where to stop the main material removal and change to detailed working metal state. Is it the same as on a guitar? Seems that this is the elusive bit of information that no one discusses when trying to research this for bass guitars. I would use a Tusq pre slotted, but this guitar's neck is wider than any pre slotted bass nuts available. Thank you guys for any pointers. I am just trying to get the nut into a rough finish from straight blank, but well before nearing finish

For your budget, if you have not purchased anything yet, Ampeg VH140C, Marshall 3210, Randall RH200 will all do exactly what you are looking for and unfortunately are all solid state. That is not in any way a bad thing. Listen to Dying Fetus up to the Reign Supreme album, as well as all old Suffocation (I am speaking first two albums specifically here) that is your Ampeg VH140C. For the Marshall 3210 check out Necrovore's first demo Guitar coming out of the speakers on your left hand side as you face the speakers is all 3210 stock. I know this because it was my personal amp(not me playing on that recording, I joined that band later). When I used it I used an MXR 6 band graphic in the effects loop to take the amp over the top. I have also owned the Randall I mentioned above. It will get to the Ampeg levels of crunch, but the tone stack is more Marshall-like, less Randall/Pantera. I originally bought it for a light-weight amplifier to keep in my vehicle when playing live in case my Mesa broke down (bad idea because that 200 watt amp weighed the same as the mesa). I used it when I was sessioning for a local black metal band as I wanted a different tonal sound than my usual tone. I mentioned these three amps because they will not get lost in a band mix or rehearsal. One more suggestion is a Digitech 2101 Artist through a poweramp. This is what Ron Jarzombek uses if you are familiar with his playing. Reality on the wattage myth. In this modern era of multi thousand watt public address systems that mandate a minimum of 16+ channels, a guitarist can easily get by with a 5-25 watt amp and the audience wouldnt know the difference. Stage volume would be a different matter unless you had decent monitoring on stage, which is barely ever in a metal setting. You would be fighting to hear each instrument over the drums. The large 100 watt amps were needed back in the late 1960's into the mnid 1970's as Pa systems were usually used to amplify the singer, bass, keys, and occasionally drums. Most large concerts held in arenas and larger would necessitate the guitarists to turn up to be heard. Tradition carried forward until civic noise laws and lazy-assed FOH "sound engineers" started miking all instruments to create an overall band mix so the venue wouldn't get in trouble with the municipal blue gang shaking down the venue for additional revenue for the city coffers for noise violations. Ever play a show where the soundman keeps asking you to turn down because the guitar is too loud at the same time you are looking at his stack of 10 Crown 1000 watt two channel amps sitting in a rack behind the PA columns, to the point where you cant even hear your cabinet? Then gives you some great guitar in the monitor thats EQ'ed like high pass that starts at 200Hz, -6db@400-750Hz, and caps it off with a +20Db@2KHz and comes down and cranks the poweramp feeding that one monitor in front of you so you get the full 1000 watts off that pa amp right in your face? Sorry I rambled a bit.... Too many way way way too many times. Your 50-100 watt tube amps are good for one thing on a normal stage. Air movement of your sound. Learn to feel yourself playing by how the air is shaking the back of your pants when Stasi minded soundmen decide to be micro tyrants. Or call them out on it. Ask them if there is any reason why they cant just turn the guitars down at the board so you can keep your sound that makes you play well. My personal level is just loud enough to hear myself, 2nd guitarist across the stage, and bassist over the drums. When the idiot behind the piecr of gear that has all those knobs to turn forces his will, just turn down enough where you can feel your amp moving air.

@Curtisa You're saying that the high e saddle on a tremolo(or standard bridge) should be moved to it's furthest point towards the nut and compensate the rest of the bridge accordingly to the scale of the guitar in most instances? What if the guitar is tuned down to say B standard and the player is using very heavy strings? Wouldn't the builder need to worry about the distance of the low E string's break point across the saddle? I ask because I have seen a couple videos where a guitarist of a certain popular death metal band had to resort to taking a dremel to the fine tuner riser on his floyd rose to get the low A&E strings to intonate. Said band usually tunes to B or C standard. When I watched the video all I could think of was why didn't the manufacture already take the guys low tuning and intonation of the bridge on the custom guitar he was hacking.

That Tele is just amazingly cool looking Ron. Might I ask the name of the CA manufacturer? I will be starting on a build soon wher I am using locally sourced pecan and while it has been aging the past few years, there are some cracks in a piece that is highly figured I was planning on using for the top I would like to attend to.

Pickups: http://www.bestbassgear.com/nordstrand-4-string-p-bass-pickups-humbucking.htm Alternate Pickup: Seymour Duncan Steve Harris Sig, or Quarter Pound P Bass Preamp: http://www.bestbassgear.com/aguilar-obp1-preamp.htm Tone Stack Pot: http://www.bestbassgear.com/noble-25k-eq-pot-for-aguilar-obp-1-stack-treble-bass.htm I know you didn't want to include a tone pot, but if you do add one, you can really dial in your tone. I am currently pickup shopping for my bass player as the pickup he has in his bass makes me want to start eating paint of the leaded variety. Literally sounds like dry beer farts to my ears. I tried the Till FET preamp to give it some kick, but nah, no dice. General consensus on places such as Talk Bass as well as speaking to several of my bassist gear head friends suggest the Nordstrand/Aguilar preamp combo with the alternate being the Duncans above. Unlike you his bass features a knockoff of a Musicman pickup so we have even less choices out there. Just a question here, which Schaller bridge and what made your decision? What about a Hipshot Kick Ass bridge? I ask because while Schaller makes some choice kit, depending on what is in stock through your dealer, you can be waiting upwards of a year for your order. I bought a set of Schaller M6 non-locking machine heads in Ruthenium (Schaller's version of Cosmo Black) for an Ibanez clone I am building for myself, and the order took 14 months to arrive.

You are probably correct. I was reading another website discussing the same. I figured it was another species altogether, as they actually had padauk in stock which was more of an orange juice color when I was there. It is probably something akin to pecan and hickory, where Padauk is the main phenotype, and the various shades of brand names are just alternate strains.

It isn't padauk. I cannot remember the common name the lumber yard had it as. It was bright coca cola red when I bought it, Now after it has aged some it is a lovely oxblood color like the red doc Martin boots. Bloodwood (I just went out and looked at the board.) I knew nothing about it when I bought it, the guy said it was also called vermillion. I was just very keen on the vibrant color of it. It has darkened now, but no where near how dingy purpleheart looks after aging and darkening.

It isnt a LP type. More of a Telecaster. Look around 1:35 in this video https://youtu.be/7BIHyNMWAgw

Polymaker, have you tried contacting Ibanez to get a tech drawing, or at least proper measurements? If they wont help try a local Ibanez service tech to see if he can acquire one for you with the promise of lunch or a six pack if he can help you out.

I really wish I could find a good deal on Z-Poxy locally instead of paying the Wood Crafter cork sniffing prices. They only carry locally quart amounts and are asking close to $50 per can.

Have any of you worked with this wood before? I have enough to build two instruments with and was wondering on its viability on use as neck wood? Originally was planning on using it laminated with either maple or another common neck wood that would augment its color like wenge or similar. As far as air darkening, It was fairly coca cola red when I bought the lumber and hasnt darkened too far off from that, maybe a little deeper, but nothing like how purpleheart changes

Just about had this project done and pulled an ultimate impatient bonehead maneuver. Let us reinstall the tremolo post studs with forgetting to remember yyour dumbass removed material from the top route at 2am and while tapping the stud in you blow through the backside of the guitar. Luckily all damage is within the confines of the spring cavity and is essentially in one piece. Just need to glue the splitting and clamp it up. Put the project aside a few days as i have too many things on my plate to be dealing with this type of stuff right now. The refin looks nice, but the color did an odd one during the process. Have pictures of about 90% of it. Will start a new thread for it to document after Christmas. If i dont post til then, everyone have a God Jul, Christmas, hanukkah, Kwanzaa, Festivus, or hwatevah youz celebrates. Please be safe so youre around next year. Already seen too many drunks on the road this week driving lime idiots for my liking.

Before you invest in EMGs, look into some quality passives and a preamp. Lots more tonal possibilities going that route. Keep the layout simple by using cermet pots mounted to the preamp pcb so they wont be seen. Granted you wont be able to adjust on the fly, but most rock/metal bassists are the set and forget types in regards to their tonal settings and access to a working volume pot is usually more than enough adjustable control for them. Not to be read as a dig to anyone, just an honest observation. You may also give Neal Moser a shout for any non original hardware you may be needing.

MrMuckle, any follow up on this? Was a fairly interesting topic.

True, but we've all seen the videos explaining where once pickups and amps come in, the actual construction material of an electric guitar is really reduced. Acrylic guitars sound good, metal guitars sound good (my only experience playing/hearing was test driving a Jackson Roswell once), high end wooden guitars sound good, low end wood guitars sound good, MDF (Mosrite) guitars sound good. the only common factor they all need regardless of materials used is quality construction and a good setup. I thnk the only real mitigating factor in the end would be which guitar sounded fuller and which sounded thinner. That to me would be only different between the instruments materials mass and density. Before anyone says anything, all instruments would be played through the same exact rig, and all tuned to standard tuning. All instruments would have to have same body shape and scale. All hardware, electronics, strings, and frets would be the same (components from the same manufacture lot if possible).This way we are comparing different apples of the same sub species but from different orchards instead of apples to oranges.

Oh, thems peoples...I will just plug in my concrete Tele into my amp and shoo them away.

I guess I never hit "Post" as I could have sworn I replied to this. I repaired the neck problem by routing away wood on the bottom of the neck pocket. The neck now sits almost 1/4" deeper into the body. This resulting in exposing a separate but related problem. The tremolo top route was not deep enough to accommodate the lowering of the tremolo into the body to correctly create the proper tremolo angle as shown in the Edge installation manual. I did not trust using my router to correct this due to not having a bit where I could it with a template. The only place in town which carries a bit selection with top bearings in the diameter bit I wanted to use wanted $65 for a mid grade bit. They also do not sell individual bearings so I could adapt the tools I already own. As a work around I picked up a straight cut bit made for a Dremel tool. I created a set of acrylic templates using the pre cut top route dimensions and using the top rout depth measurement from my RG, I fixed the top route depth. This then led me to correcting the old original spring route cavity to modern dimensions, creating a behind the spring slope the installation manual calls for as well as lengthening the same cavity to accommodate the use of common size tremolo springs. Ibanez size springs are only sold via Ibanezrules.com unless you want to pay premium from Ibanez, or the stealership. I also like the feel of regular generic "Fender" sized springs anyways. During a break on this project, I watched a video on Youtube on tinting oil for oil finished via two different methods. The first is by using a linseed based oil paint(oil paint as in Bob Ross and Happy Trees and Clouds) diluted by linseed, the second by using the same type of dye I used in my other thread when I refinished this guitar two years ago. This calls for adding the dye to the oil based and then adding in acetone to the mix which breaks up the solids in the dye allowing it to mix with the oil. I really want to try the oil paint method seeing how I can mix the color I want so I sanded the finish off the guitar. Dont worry I compensated for any wood removed off the top of the guitar when routing the tremolo/neck issues by removing a little more then the exact amount needed to correct the problems. Once the body is sanded down to 600 grit, I will make a photo log of the refinish process and post in a new thread in the refinishing forum.

Where they are still held off from total global domination by their Nemesis Divina who goes by Aliphatic Resin.

Has anyone checked out using hydrographics for adding graphics to their finishes on any of their guitars? I ran across this method of finishes when I was looking at finishing some motorcycle parts I have. Once I saw what could be done, I had to rethink my previous plan I was going to do for my Triumph, then when watching more of these videos I saw that they were using the same method on guitars. The only draw back I see are that most shops that do this finish tend to use stock images and custom images aren't too available. The materials to create the graphics ( printable film and chemicals) are not too expensive. The expensive part is a large scale printer. Either way I think this type of finish is beyond neat. This was the video I first saw the technique done on motorcycle parts. The flames on that first tank are wild.

Well I finally tackled this job tonight. No pictures as I went about it too fast as well as my confidence wasn't that good and was winging it. The template I made was slightly smaller than the pocket which I cleaned up with a chisel. Will sand it flat tomorrow as the router bit left trail marks in the wood. The pocket was lowered 2/10". The neck sits proud of the face of the body similar distance to my RG's now. While messing with this I went and took some measurements of all the routs dealing with the tremolo. The top rout is a mess and do not think it is possible to fix unless I use a dremel router bit. It needs to be lowered into the guitar body some. I can't believe I paid $300 to have this tremolo installed back in 1989. The only measurement the guy got right was the mounting posts distance from the nut as well as the distance from each other(At least that was corrrect, the rest of the routing was just ugly). The spring cavity was 4.5mm too short, as was the depth of the spring cavity. As per Ibanez Edge manual the depth should be 18mm at claw end and 25mm at through hole. I had 14mm and 16.7mm respectively. This was I suppose one of the reasons the block kept bottoming out when I would pull up on the bar. I fixed that with a chisel as this was easier than trying to figure out the proper angle to make a template for a router.