Bjorn.LaSanche

I want to ask one question to this topic if I may.

In step 4 of Perry's drawing, the body angle is drawn in relation to the height of the bridge, but the picture shows a body meeting the neck at the end of the fretboard.

If the guitar design has the body meeting the neck at say 16th fret, you would draw your body angle line, from the 16th fret(at glue side of fretboard) to the base of the bridge point, or does that matter and follow the diagram as posted?

Also if someone could repost the neck/string taper image again it would be an appreciated visual reference to base my drawing against.

I am in the process of planning out a build and was interested in using the Gibralter III bridge from Ibanez. Mainly due to the visual asthetics of the bridge as well as being (according to Ibanez) a modern version of the old Gibralter bridge. These were from what I can tell used mainly on the SZ line.

My question to the forums is have any of you seen this bridge in person? If so, is it worth the price from a tech point of view as compared with a standard type TOM? I'm not talking about the cost of the part, but is it a well designed bridge?

Thanks for any information you guys can send my way.

Bjorn

Hi, first time here. I'm having a little trouble getting started.

I've been playing guitar for about 3 years. Off and on, you know. I'll pick it up and strum around on it, nothing serious. I finally moved up to getting an Epiphone LP. I have very fast and limber fingers, I know how to strum and sweep and palm mute and all that type of stuff. I have equipment that will suffice. I have learned a good little bit of solos and riffs and such, about 20 different songs, including the STH solo, Iron Man solo, One intro solo, and can play them to speed and accuracy.

However, I've never actually taken the time to try to learn the real music to it. Things like scales and octaves and more chords. I've just gotten by with looking at tabs and when I make up my own stuff, just play random crap really.

I don't know what to start with first.

So, could anyone point me in the right direction, I'd like to actually learn guitar, not just play by tabs.

Have you tried mapping out your fretboard? When I was first learning I would take a piece of graph paper and draw a rectangle 6 squares tall by 13 squares wide. In between the first and second column(up and down) make another line. This represents your nut. now in that first column starting from the top write e, B, G, D, A, E. Now to the right of the darkened line write the note in each square up to the 12th column. Each square represents the string/fret relation on your fretboard. Its easy to look at a picture and find the notes on your fretboard, but actually starting with a blank canvas such as the paper and having to figure out each fret's note value helped me learn the fretboard. You only need to go up to the 12th fret as the whole pattern starts again on the 12th fret higher up the neck. Just smaller frets.

Do you know any scales? Learn the Major scale first as all others in Western music is derived from it.

You can use graph paper again for this. You will need to have enough room to make a 7 x 24 square block running horizontally. Leave some room to the left of the block to write a title for each row. now in the squares above the block write these numbers. 1, skip a block, 2, skip a block, 3, 4, skip a block, 5, skip a block, 6, skip a block, 7,1, skip a block,(just repeat the pattern and you should wing up writing 7 over the last block on the right.

Now, to the left of the first block on first row(top row) write Ionian and copy the numbers into the row just like you wrote across the top of the rectangle in the same positions.

Ionian is the first mode of the Major scale. There are a total of seven modes for the Major scale. I won't explain the others right now as it can get overwhelming right off the bat. Just know that the names for each mode in order are: Ionian, Dorian, Phrygian, Lydian, Mixolodian, Aeolian, Locrian.

Now take your fretboard map and Major scale diagram and set them in front of you. Pick up your guitar, and figure out the C Major,1st mode scale. Use only 3 notes per string. Start on the 6th string, 8th fret. The notes of the scale are: C, D, E, F, G, A, B, then the note pattern repeats.

Remember, Follow the Scale diagram you made, 3 notes per string, figure out the pattern on your guitar from the 6th string across all the strings.

Once you have that box pattern down, it is exactly the same for each Key you happen to be playing in. If you want to play G major Ionian, you just shift the pattern down so the first note starts on 6th string, 3rd fret. D flat(Db) start the scale on the 9th fret on 6th string.

I'm not going to give visual reference as I explained it fairly well(I had my non guitar playing Wife read my instructions and she understood how to figure out how to create the basic diagrams). The key to understanding theory is not just reading about it and finding out where on the guitar a certain note or scale is, but reading an example then recreating said example on paper as well as on your guitar. What I wrote out should be enough for a few days unless you are a shut in and all you do is play guitar

As far as books go, The best theory books I have found specifically relating to guitar are the Guitar Grimoire series. This is where I picked up the box(graph paper) scale formulation to figure out how each note is laid out in relation to the next and how the different modes relate to each other.

DISCLAIMER

In regards to what I posted.... Theory is realistically applied only when used in terms of having to relate ideas to other fellow musicians. ***SOMETIMES*** Theory and scales do not exist. Theory and scales are only ways on how others are trying to map out frequencies. When you are learning theory, you are parroting what others have done before you. Use your ears and create your own frequency maps that appeal to your ears.

As one famous guitarist stated "If it sounds good, it is good".

Really digging the Valknut. I would love to replace the Sin sigil on my Gibson goth V with a Valknut. Very impressive work.

I'm from McKinney, up north of Dallas. I think MiKro's from Dallas too. (Incidentally, Mike, have you heard of lint.org? I went to my first meeting Saturday.)

I don't have those dimensions, but if you're looking to replicate the design, you could try ordering these templates:

http://www.guitarbuildingtemplates.com/Famous-Guitarists.htm

Welcome to the forum!

Yeah I have seen his templates, but the crotch area of the body doesn't look right. The design from guitarbuildingtemplates.com looks more like a combination of Rhoads white Concord with the upper tail length of his black Original Sin version. Might just be the picture though. I have full sized printouts of the RR1 that I am basing my plans off of, its the bevels I am having a time with. I'll figure it out.

Thanks though.

From San Antonio. Yourself?

Greetings all,

New builder from Texas here. Have been upgrading/customizing/repairing my own guitars for 26 years now. Mainly electronics/hardware stuff. Decided to take up actual builds now. I am currently drawing out two plans to begin building soon. One will be a RR1 clone, the other a Double V done in all mahogany. I have some questions regarding the neck construction for the RR clone.

Looking at pictures I found on other sites of Jackson factory tours, the necks are constructed differently than my initial thoughts on 3 piece necks. They take the quartersawn neck blank, scarf the headstock, and glue a third piece of wood to create the body thickness. If I am using a 13* scarf that breaks approx 2/3 between the nut and fret one, and continues until it would come out at the top of the neck real close to being under fret 2 with 4/4 lumber, it seems that I will have to trim the headstock piece to thickness and blend that into the neck. Only asking because I have yet to see anyone demonstrate scarf joints this way except looking at Jackson's necks. I am using the neck from my Dinky for reference. Am I describing this correctly?

The Double V will be built utilizing the 3 piece method Neal Moser discusses on his website. 3 flatsawn 4/4 x 3.5" boards laminated and set on edge to create the quartersawn grain patterns.

The last question, the bevels on the rhoads for the fins.... how far in from the end of each fin to place the bevel apex, what is the angle of the bevel vertically AND horizontally, and when it terminates, does it just disappear, or have a slight round off to it?

The shops around here do not carry high end Jackson's and the one shop that does have one will not let me take measurements.

Damn Texans invading this forum. Welcome, what part of Texas? Many of us here.

Greetings all,

New builder from Texas here. Have been upgrading/customizing/repairing my own guitars for 26 years now. Mainly electronics/hardware stuff. Decided to take up actual builds now. I am currently drawing out two plans to begin building soon. One will be a RR1 clone, the other a Double V done in all mahogany. I have some questions regarding the neck construction for the RR clone.

Looking at pictures I found on other sites of Jackson factory tours, the necks are constructed differently than my initial thoughts on 3 piece necks. They take the quartersawn neck blank, scarf the headstock, and glue a third piece of wood to create the body thickness. If I am using a 13* scarf that breaks approx 2/3 between the nut and fret one, and continues until it would come out at the top of the neck real close to being under fret 2 with 4/4 lumber, it seems that I will have to trim the headstock piece to thickness and blend that into the neck. Only asking because I have yet to see anyone demonstrate scarf joints this way except looking at Jackson's necks. I am using the neck from my Dinky for reference. Am I describing this correctly?

The Double V will be built utilizing the 3 piece method Neal Moser discusses on his website. 3 flatsawn 4/4 x 3.5" boards laminated and set on edge to create the quartersawn grain patterns.

The last question, the bevels on the rhoads for the fins.... how far in from the end of each fin to place the bevel apex, what is the angle of the bevel vertically AND horizontally, and when it terminates, does it just disappear, or have a slight round off to it?

The shops around here do not carry high end Jackson's and the one shop that does have one will not let me take measurements.