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curtisa

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curtisa last won the day on December 31 2020

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  1. Depends which fret slots are off and by how much. In the lower registers an error in fret slot placement will result in less pitch error than it would in the upper registers given the same error in absolute distance, due to the exponential reduction of the spacing between the frets as you work your way up the fretboard. For example, an error of 1mm on the first fret will be less audible than an error of 1mm at the 17th. How wide is the notch you're using as your reference? If it's just a black etched mark as you'd find on a normal steel ruler I'd say that a fret slot falling on
  2. I dunno. A couple of mm maybe? You've got fret wire in front of you - stick a ruler up against it and measure it. You're after measurement 'D':
  3. Slightly deeper than the depth of the tangs on your fret wire. Anything less and the frets won't go in properly. Anything more...well, there's nothing wrong with it per se, but all you're doing is creating more work for yourself. Obviously if you make the fret slots too deep you'll cut straight through the fretboard. In reality you'll probably lose a bit of depth on the cut fret slots after you've radiused the board and sanded it to a final finish, but all you do is then just quickly swipe the fret saw over each of the fret slots again with the depth stop set to the same position, just to
  4. Twisting the pickup to match the frets (or at least the degree of scale length difference between treble and bass) in theory should be the equivalent of putting that same pickup perpendicularly at the equivalent relative position along the strings' length on a non-multiscale guitar. For example if you positioned the bridge pickup squarely on a single scale length guitar at, say 90% of the string length, to get the same positioning on a multiscale guitar and maintain the same 90% string length for all six strings the pickup has to adopt a reverse slant to match the differing scale lengths of ea
  5. I'm not sure there's any information floating around as to the effects of rotating the pickup such that the poles of the humbucker bobbin pairs purposely misalign from the strings by a few degrees. There might be some kind of tonal difference, but I've no idea what it might be. My gut feel would be that any degree of change in tonality is dependent on the amount of twist of the pickup away from perpendicular (5 degrees of tilt may sound less noticeable than 10), but it would take a fair degree of twist before you really noticed anything significant, by which point you're probably more concerne
  6. It's worth noting that you are listening to the entire chain when making judgments on just the pickups - player, guitar, pickups, amp, effects, speakers, mike placement, post processing... Flipping it on its head for a second, I'm willing to bet that playing Slash's Les Paul through Kirk Hammett's And Justice For All-era recording setup would sound pretty brittle as well. Can you find out what pickups JP uses? It's been a long while since I paid much attention to Dream Theater, but I seem to recall he used to use Dimarzio Air Nortons and Steve Specials. They're pr
  7. You want a push button toggle switch that is a latching type (aka push on/push off), with at minimum single pole/double throw (SPDT) contact arrangement to act as a neck/bridge pickup selector.
  8. Google is your friend: Your preamp would go inline between the middle lug of the volume pot and the tip connection on the output jack. As @ADFinlayson mentions, the output jack would need to be replaced with a stereo version to allow automatic disconnection of the battery when the lead is unplugged.
  9. Wire it like a Strat, just delete anything related to the two tone controls: :
  10. EMG PA-2 booster preamp perhaps? HH config with coil tap is pretty common. I'm sure there must be dozens of wiring examples out there on a Google search.
  11. Is he following here? Hey A! Andy said you could have all the pickups you want!
  12. Wall-to-wall superquads reminds me a little Nigel Tufnel's Musicman: C'mon - surely there's gotta be room to squeeze a J-style single in if you squish up the Superquads a bit in A's bass? Can you retrofit a piezo to the bridge as well? MORE POWER!!!
  13. It probably isn't, but the fundamental backbone of Carl's theory behind the angled claw thing is to match the tension of the strings with the springs. So to test his theory you can try equalising the tension on both sides of the tremolo by using a set of strings that exert close to the same tension across all six. And you get to try a new set of strings that you otherwise wouldn't have known about Interesting factoid - the Carl Verheyen signature string set from Dean Markley was gauged 9-12-16-26-37-46. He appears to have also (later?) had a signature set with DR which replaced the
  14. Oh God. Not again OK, here's another thing to try - buy yourself a set of D'Addario Balanced Tension strings and install them on one of your trem-equipped Strats. If there's any merit to this whatsoever (and I suspect there is none, and what most people are experiencing is nothing more than the power of suggestion), if you straighten the claw you will have identical tuning stability performance to a normal set of strings with an angled claw. Conversely, if the theory holds water, if you leave the claw angled with the BT string set you'll see poorer tuning stability.
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