Saber
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Everything posted by Saber
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From the Slip Plate Website, there appear to be several types of the stuff. According to them, Slip Plate #3 dries to a "hard thin coating". Maybe that's the one. ????? However Slip Plate #1 contains the highest percentage of graphite so it would shield the best. ?????
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I tried local music stores but all they carried was copper sheilding tape. They suggested trying local lutheries. Someone at MIMF mentioned an alternate product named Slip Plate. It's an industrial coating that contains graphite but I don't know where it's sold.
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I have outgrown fixed bridges and have moved on to trems.
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... and he provides comic relief.
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Looking to put a pickup in current acoustic
Saber replied to JohnnyG's topic in Acoustic and Hollowbody Guitar Chat
For the output jack, you can replace the guitar's endpin by one of these endpin jacks from the Allparts website: -
How much force is required to move the trem arm compared to the Floyd Rose? Is it a bit more, less or the same force as a lo-pro edge, for example?
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A compound radius of 10" at the nut and 16" at the 24th fret would mathematically come to around 17.9" at the bridge.
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Really nice. I especially like the finish.
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How hard would it be to make one of these?
Saber replied to sjaguar13's topic in Solidbody Guitar and Bass Chat
For more ideas: Electric Violins -
When we talk about the very subjective concept of "feel" it depends as much on how the listener feels as on how the musician conveys the feel. One listener can get a more bluesy feel from Vai. If you're talking about who conveys the more traditional form of the bluesy feel, then you can make certain objective statements supporting Satch's approach because he sticks a bit more to traditional phrasings and such. But in projecting one's feelings and personality, I think Vai does as well as Satch but it's a bit more flamboyant and certain listeners feel that more. But then the bigger problem would be to define what "blues" or "bluesy" means.
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If so, wouldn't he be better off enlarging the old holes in the neck to accept dowels and then redrilling them at the right place? That's what I did to install an AANJ neck on a non-AANJ body (in addition to reshaping the heel a bit). I'm no expert but from what I've learned on this forum, it seems like a logical solution.
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Have you ever heard of the saying: "Those who can... do. Those who can't... teach." I'm looking for trouble, eh? I'm a baaaaaad boy.
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Exactly. When musicians reach that level, it's no longer a matter of who's better, but a matter of who you prefer. It comes down to personal taste.
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Oh man, I get a sick feeling in my stomach just imagining you the moment you discovered the theft, and the violation you felt. Man, that pisses me off. I hope you'll get it back.
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We must however keep in mind that Vai and Malmsteen improvise a bit more whereas Satch plays his songs more note-for-note so there's much less chance of him screwing up. Satch is smoother and more melodic but rather predictable. Vai is more spectacular and on the edge. In fact, at the G3 concert, even though Satch is my favorite of the three, his set was somewhat anti-climactic after Vai. Edit: I love the spontaneity and uniqueness of a live performance. That's why I find improvisation so attractive. That's also why I go mostly to jazz concerts and rarely to rock shows.
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Oh, c'mon Wes. Why did you have to post something that I agree with? There's no fun in that.
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I used a coping saw similar to this: http://www.zonatool.com/coping.html I think a jeweler's saw would be even better.
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A higher cap value will bypass more high frequency so a lower one would be better, but you have an idea that's worth trying. In the same vein, you could try changing the volume pot to a 1M. That would also brighten up the sound a bit. And I also think that the EVO7 makes sense with its emphasis on the mids and treble. I'm not familiar with the configuration of the switch though.
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Thanks. The bottoms of the inlay cavities were routed flat by placing a board on each side of the neck and riding the router attachment on them. Then the inlays were glued flat and then filed, sanded, and buffed to the shape of the scallops. The inlays are thick enough and the scallops not so deep, making it possible to do it this way. However, even though the reflective surface remains flat, even that looks curved because of optical distortion caused by the curvature of the other surface. In fact the flat reflective surface appears convex, or opposite of the concave scalloped surface.
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Whoah, I'm sort of overwhelmed by these compliments! Thanks. I guess patience pays off. The acrylic sheet comes from the hardware store (Reno-Depot near where I live) in the same section as the plexi-glass and other similar sheet products. They come in 4' x 8' sheets but my brother had bought a smaller scrap piece from the store's cutting center for his own hobby. Since my inlays are a simple geometric shape, I cut far enough outside the line and then held the piece above a belt sander to wear it down almost to the line, always holding it so that the belt drags the reflective surface slightly toward the acrylic. Then I filed each edge smooth. I didn't polish the edges though, so the paint could grab on. BTW, this type of mirror doesn't use a foil backing but is rather some type of coating so it doesn't tear, so that may make it a bit easier to work with.
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Some recent inlay- signature truss cover
Saber replied to Clavin's topic in Inlays and Finishing Chat
It's amazing how much work goes into the smallest details. Classy job! -
Here is my first inlay project. I started out with a scalloped Ibanez S-Series neck so I needed inlays that would pretty much cover the old "S" inlays. I basically used Brian's 3D Inlay Tutorial with the following additions. I cut them out of 3/32" acrylic mirror. I painted the edges flat silver since the edges can be seen through the transparent acrylic. Then I added a coat of brown so the silver could not be seen through the transparent epoxy where there might be small gaps in the less-than-perfect routing. I could have avoided the brown paint if I had added brown pigment to the epoxy instead.
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Ferrules absolutely needed?
Saber replied to pour bleeding me's topic in Solidbody Guitar and Bass Chat
Drill test different-sized holes in a scrap piece of wood and try your screws in them. I think that should give you a good idea of whether the hole feels too tight (risk of splitting the wood) or too loose. -
You can get the vibrato to just the way your brain wants to hear it by eliminating the friction between how your fingers want move and how they actually move. You can quote me on that if you dare.
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How about a phantom power supply. You should have no problem making that. Just change the jack on the guitar to a stereo one and use a stereo (tip-ring) cable. Use the tip for the guitar signal and the ring to carry the dc voltage from an adapter or dc power supply, with the grounded shield as common. In fact, if my guitar had active pickups, that's what I'd do, too. I hate batteries!
