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Everything posted by curtisa

  1. Go the 520mm. I use the generic Chinese ones all the time and have yet to have an issue. They're cheap enough to buy several, pick the best of the bunch and still be left over with enough cash to buy yourself a beer.
  2. I've never used Marri. Have you tried searching for some of its properties? Google suggests that Marri has a Janka hardness of 7-8kN. Not as hard as Jarrah but harder than maple, so on face value it looks like it would work OK. But that's not the only property to look for. You want dimensional stability, straight grain, good crush strength (for holding on to theose fret tangs), free of gum veins or anything that might weaken it etc. Maybe start somewhere like a wood database and compare the properties of Marri with the other well-known fretboard timbers and see where it fits in. There might also be other foibles to consider, such as whether the wood has extremely open pores (which might capture all manner of finger crud and look ugly very quickly) or whether it has any special requirements for gluing (maybe it has a high natural oil content and won't adhever to standard PVA?).
  3. Yes, I can confirm that the older 5-way rotary switching scheme is fully humbucking in all positions, but I'd have to open mine up to verify how it's done and what wire colour goes where. There's probably someone out there that's already done the hard work on reverse engineering the wiring on the older CU22 and 24 rotary-switched scheme.
  4. Admittedly there's caveats and trade-offs to any suggestions. My first idea is effectively the same as your option of flipping the magnet in the pickup, but carries the proviso that you need to live with the look of the pickup being upside down. It does, however, save you dismantling the pickup to get to the magnet which may be off-putting to some people. If you're not adept and aware of the inner workings of pickup disassembly/reassembly there's every chance you might write off a perfectly decent Seymour Duncan humbucker in the process. The second option should also work, but introduces other phasing issues in certain pickup combinations. Indeed, I had to use it recently on an HSS-equipped guitar, where the split-bridge pickup sound when combined with the middle single gave humbucking performance but not the typical Strat-position-2 'quack' sound I was after. Reversing the coil order and tapping the opposite coil on the humbucker fixed the issue without having to worry about flipping magnets or rotating the pickup around. But as you note, it could have unusual tonal effects on an HH guitar if you also want to retain the 'normal' bridge-bridge/neck-neck humbucker switching pattern in addition to the humbucking inner/outer coil tap positions.
  5. Or if you have enough slack on the pickup cable, can live with one Seymour Duncan logo appearing upside down and the slug/screw polepieces appearing in the same order as the bridge pickup, just spin the neck pickup around 180 degrees. Admittedly that probably only works best if you have a pickup that looks the same if oriented either way up, such as a Dimarzio with hex polepieces and the same colour bobbins. Another alternative is to swap the connection order of the two coils in the wiring. There's no reason why the start winding of a coil on either north or south has to be the one that feeds the 'hot' wire of the circuit in order for a humbucker to buck the hum. Using SD wiring colours, Black (hot) -> White -> Red -> Green (ground) will work the same as Red (hot) -> Green -> Black -> White (ground), but will reverse the phase of the whole pickup by 180 degrees and allow you to tap the opposite magnetic polarity coil if you want without rotating the pickup or magnet, Again, the limitation here is that if you want two humbuckers to sound a certain way when combined (say the neck+bridge position on an LP) it won't work, but it can be useful if you're trying to split a humbucker in combination with a middle single coil for that inbetween Strat-type sound, and the middle single isn't reverse wind/reverse polarity relative to the humbucker coil you're trying to split with.
  6. Use whatever is most convenient to you (hardware store, scrap metal yard etc), although starting oversize and cutting it down to shape after the holes are drilled will probably make life easier. If one edge is straight from the factory to begin with (say the long edge of an aluminium bar) you'll get a head start on the accuracy of the hole placement using the fence on the drill press.
  7. Kinda. The temporary fence at the back of the table is correct, as it allows the workpiece to slide left-right to prevent any error in the forwards/backwards placement of the holes. But the extra jig with the locating pin she uses potentially re-introduces those placement errors, as there's nothing stopping the jig rotating round the axis of the index pin (at 11:14 for example you can see the second-from-the-right hole is closer to the fence than the other five). Better results would have been attained if the jig with the pin was wide enough such that it too could also be pressed up against the fence at the same time as the workpiece, so that it couldn't be accidentally swivelled around when positioning each hole. The other alternative is to use the long fence at the back of the table as before, but construct a stop off to one side that the workpiece gets butted up against to prevent it shifting from side to side (similar to those adjustable end stops you find on chop saws). If you can make this side stop adjustable in some way that you can incrementally shorten it in discrete steps you should be able to achieve equally spaced holes without the aid of measuring/marking anything except for the first hole you want to drill. The only trick is finding something that has the same thickness as the string spacing you want to achieve as you add or remove components of this side stop (maybe six Lego blocks, or six holes in a Meccano girder, or six offcuts of some metal bar stacked side-on-side?). Something like this: Yes, although you don't have to tap the holes if you don't want. You could just as easily drill the holes in the baseplate all the way through, use longer bolts with nuts on the underside to secure each nut/bridge and route out some clearance in the timber underneath the baseplate to allow the nuts/bolt ends to fit in to. The only drawback then is you have to design your baseplate to be intsallable with all six nuts/saddles already in place. The nut plate in my photos, for example would need to have wider sides to allow me to install some mounting screws to attach it to the headstock.
  8. That's pretty much exactly what I do with mine. Admittedly this is done on CNC, but it doesn't have to be that fancy: A fabricated mounting plate to fit six tuners (or nuts) would be a trivial thing for a capable machinist to whip up, provided you gave them a decent drawing of what you wanted. It's the sort of thing they might do for a six pack of beer in their lunch break if you ask nicely. Certainly a lot less work and money than fabricating up six custom-made tuners specifically for your build. If you have access to an OK-ish drill press there are ways of making repeatable, equally-spaced holes in straight lines that don't require a lot of high precision operations.
  9. How about buying the individual headless tuners and attaching them to a fabricated baseplate with the required string spacing? The only part that would then require any real degree of precision would be drilling the mounting holes at the required positions on the plate.
  10. I didn't mean to imply that those items be in a specific order; more highlighting that any potential movement of the neck as a result of material being removed from the blank, frets being inserted etc should be the last thing you address before attempting to level the frets. Trying to get the neck to 'sit straight' this early on in its construction may be counter-productive if all that happens is that the neck moves again before you get to the fret levelling stage. If you re-sand the fretboard now so that it's flat, you'll end up with a fretboard that is (marginally) thinner at the ends than in the middle. If you start cutting/carving/sanding/shaping the rest of the neck and it moves again, your flattened fretboard could end up non-flat again (maybe lifting at the ends again? maybe bending back the other way? maybe twisting in an odd way?), and you'll have to go back and correct it somehow. It's possible that the neck blank won't move any more from this point onwards, in which case doing nothing now except making the neck as you would normally will be perfectly acceptable, and all you need to do is tweak the truss rod to get the neck flat again prior to levelling. But trying to force it to appear flat and discovering it changes further down the track will just have you chasing your tail.
  11. Finish the remainder of the neck construction steps (headstock, headstock transition, carve, fretting etc) and then make a decision. There's every possibility it will move some more once you start performing further operations to it, so any corrections you make to it now could just come unstuck as you start making further changes to the neck blank, and you'll have to deal with it again. If you've used a dual action truss rod and you need to correct a minor up/down bow prior to levelling, just use the truss rod to offset it. After all, the primary reason the truss rod is there is to control the degree of relief in the neck. What are the dimensions of the carbon rods you installed?
  12. Just clarifying - are you still having issues with it or was it just a mistake in your original assessment that the switching wasn't working as expected?
  13. Silicone is fine to use. Just use it sparingy and avoid any contact with sutfaces that must be glued or finished. A safer alternative may be acrylic caulking filler. It's usually sold at hardware stores and available in lots of different colours for hiding the join between a kitchen countertop and tiled walls. It has similar flexibile and adhesive properties to wet area silicone sealer without the problematic oils.
  14. Mask off the binding area and spray gold for a faux binding?
  15. Ouch. I thought we had the monopoly on overpriced, imported goods over here. Give your mate Boris a hug for me when you next see him Best of luck with the project
  16. Easy tiger! I should point out this is totally untested - you're the guinea pig I'm also not certain how the pickup coils labelled 'North' and 'South' are physically going to orient themselves when installed in the guitar (I'm assuming the bridge 'north coil will be the inner and the neck 'south' will be the inner as well if both pickups are installed with the cable exiting on the same side of the humbucker frame). If it turns out that you're actually getting the outer coils for position 2 the easiest solution will be to swivel both pickups around 180 degrees on the guitar rather than fiddle around with the wires. In that case leave yourself some slack on the pickup cables so that you can draw them back through the wiring channels to make spinning the pickups around easier. Or you might find that the outer coils are close enough for rock 'n roll. In which case,
  17. Carbatec mortising bit with bearing Currently out of stock, but it's the one I use when I need a template bit with an itty bitty depth of cut. They have another one in currently stock that has a half inch depth of cut if that's close enough?
  18. I ***think*** this is what you're after. It's a bit of a head-scratcher, but this should give you the following: With the mini toggle in the 'series' position: Bridge humbucker with coils in series (ie, standard humbucker wiring) Bridge + Neck inner coils in series Neck humbucker with coils in series With the mini toggle in the 'parallel' position: Bridge humbucker with coils in parallel (thinner/brighter tone) Bridge + Neck inner coils in parallel Neck humbucker with coils in parallel As an added bonus it can be done without rotating any pickup around backwards and all positions are humbucking. The only catch is that pesky 3-way 4-pole toggle switch. It appears to be made by Goldo who seem to have good sales representation on the continent, so maybe importing one shouldn't pose too much of a hassle for you? Apologies for the use of light grey wire on the white background to represent the white wires from the pickups. I don't have any proper image drawing software on this PC at the moment to make a white wire look more obvious. There is meant to be a jumper between the terminals on the lower-right of the 3-way switch labelled 'in2' and 'in3'; it's just hard to make out. You can re-use the existing volume pot, tone pot, tone cap and output jack from the original guitar.
  19. I'll scribble something together tomorrow. Things to be aware of though: The three way blade switch will require a specific version (not your standard Tele-style selector switch) which may be a bit hard to come by. Essentially it's a 3-position version of the Oak Grigsby 5-position super switch. One example here. The two pickups will need to be installed with one spun around 180 degrees. If the look of the pickups is important to you choose humbuckers that don't have a single row of exposed pole pieces, polepieces that are different in appearance (a row of screws and a row of slugs) or zebra bobbin colours.
  20. I think it can be done with some minor caveats. Need a bit more clarification regarding your choice of seriel/parallel options (this was discussed recently). Do you mean with the mini toggle in the series position you want: 1. Bridge series (ie normal humbucker) 2. Bridge and neck inner coils in series 3. Neck series (normal humbucker) And with the mini toggle in the parallel position you want: 1. Bridge in parallel 2. Inner coils in parallel 3. Neck in parallel Or something else?
  21. Ground to wherever it's more convenient. As long as everything that should be grounded is grounded, and that the ground is solid and reliable (ie, not likely to wiggle loose or break off), you should be OK. No real hard and fast rules to worry about, other than chosing a grounding scheme that is practical to implement. It's no good deciding to make the back of the volume pot the only point you are going to wire all 10 ground connections to if you have no way of manhandling ten bits of wire onto the shell of the pot without them all springing loose everytime you approach it with the soldering iron, or reducing the pot casing to a molten, bubbling pile of metal in order to try and heat it up enough to attach that last ground wire. BTW, you don't need the top-right '0' terminal on the 5-way switch grounded. It's connected to nothing and does nothing, so save yourself another ground wire. Should be fine. Your tone pot is marked 500k, not 1 meg? Value-wise, something in the order of 0.022uF to 0.047uF will work fine (the bigger the cap value the duller the tone will be as you wind the tone pot down). Type-wise, use whatever makes you happy. Most production guitar companies (and regular hoomans) would probably just chose a greencap or Orangedrop-style cap. If you want to use some kind of exotic, vintage, paper-in-oil, new-old-stock, delivered in the beak of a white dove, presented to you on a velvet cushion capacitor, that's also OK, but be aware that their correspondingly overblown price makes them less attractive and their much-larger physical size makes them downright annoying to fit inside a guitar cavity. Whatever wire you can get your hands on will work fine, as long as it's easy to work with. Stranded wire is easier to deal with than solid-core. You might find it easiest and cheapest to cut up something like an old RCA video lead and pull out the centre conductor from it, or the power lead from an old phone charger. Wire like that can be free if you look in the right places. It will function OK, but it's going to be a pig to work with. The solder pins are designed for a printed circuit board and it's going to be difficult to get wires to solder to it, particularly if you have to make more than one connection to a pin. The threaded portion of the shaft is supposedly only 1/4" long, which is less than Strandberg's claimed 3/8", so there's a chance that the nut will not reach the threaded section of the pot once its installed through the face of the guitar. Something like this is better, but you'll probably have to replace the volume knob as the shaft is designed for a push-on splined knob: https://guitarpartscenter.eu/en_US/p/BOURNS-1M-push-pull-audio-pot-std/5135
  22. Then assume that the template is incorrect, not the other way around. If the three items that you have are supposedly set out to 25.5" scale and match each other, and the 25.5" scale template doesn't match any of the three, then disregard what the template says. If you've bought pre-slotted fretboards and a neck you almost have no need for a fret template anyway. Then you have a fretboard that is 25.5" scale. Nut to 12th = half the nominal scale length. You measured 324mm. Double it to get the nut-to-bridge distance: 2 x 324mm = 648mm. Convert to inches: 648mm / 25.4 = 25.5". Unlikely that they were both manufactured with the slots cut on the wrong side of the radiused face (were they advertised as pre-radiused as well?). It'd also be unusual for only one side to be bowed outwards (bulged?) while the opposite face remained flat. More likely that the fretboards have cupped along the face where the slots have been cut and you've actually got a corresponding bow along the back (unslotted face). If you lay a straightedge across the face of the board where the slots have been cut there's a good chance you'll see daylight under the middle of the straightedge. As @Bizman62 has suggested, unless the cupping is so minor that you can squeeze it flat with only hand pressure, your only real course of action is to reflatten it. That may involve planing. Sanding is another option, using paper attached to some kind of flat surface. The back needs to be relatively flat so that it will mate to the neck and for the glue to hold it successfully. If it's too warped the action of attempting to force the edges to bend flat against the neck is either going to result in the glue joint failing as it tries to pull itself apart, or the neck being liable to twist and warp. Note that if you do decide to flatten it by planing/sanding, doing so will reduce the effective thickness of the board; if you take off the highest spot on the bowed surface the usable thickness of the board reduces by the amount you just took off. If you then try and take off the high spots on the opposite face to make both sides coplanar you're reducing the thickness again. Maybe not an issue if you're starting with an overly-thick fretboard, but if your fretboard is only 6mm thick to begin with and you were hoping to use a 6mm thick fretboard on your build, it's not going to work. @Bizman62's other suggestion for trying to coax the board back to a flat shape takes a significant amount of time. Or may not do anything. Or may result in the board re-cupping once removed from the acclimatising environment. You'd have to weigh up for yourself whether you can afford to wait for the outcome of that process. I've seen it done on expensive, one-off, fancy cuts of timber where the chances of it working out were weighed up against the size, cost and aesthetic value of the wood. A couple of maple fretboards, maybe not so much. If the acclimatising process takes weeks (or there's a chance it may not work), and you're not keen on planing/sanding the existing boards flat again (or they're not thick enough to do it successfully), and a replacement pre-slotted fretboard can be purchased cheaply and takes about the same amount of time to get to you, I know which way I'd be leaning.
  23. No need to remove any of the shielding. Just need to make sure that the tip connection of the jack (and also the tip of the plug once it's inserted) cannot come into contact with the shielding that's already there. Reinstall the jack and insert a lead. See if/where the jack is contacting the shielding and treat it accordingly. Edit: @Bizman62 beat me to it.
  24. If you're not familiar with converting a wiring diagram to a schematic it's a bit hard to visualise. Think of it a bit like having a car (the pickup) tow a trailer (the output signal). As you start throwing more weight into the trailer (volume pots, tone controls, blend pots) the car starts struggling more to move the load behind it. PS - moved to the electronics subforum.
  25. If you set both blend pots to 100% P90 (or both to 100% humbucker), you've still got the P90 signal connected to both blend pots in parallel. Two equal value resistors in parallel result in a combined resistance of half the value of one of the resistors. So if your blend pot is 250K, the P90 'sees' the two blend pots in parallel and is loaded by both, and the effective resultant blend pot is actually only 125K. The output cannot reach its full potential and you end up slugging the P90 signal harder than you would if you just had a single volume pot of 250K. It's made even worse by the addition of the master volume pot, which further slugs the output. And the tone pot. It's probable that both the P90 and Humbucker are struggling to push the signal out; it's just that the P90 struggles the most and is the pickup that becomes the most obvious to your ears in doing so. I think the easy fix is to utilise the unused half of the selector switch at the bottom-left of your diagram to disconnect the ground from the 'de-selected' blend control (my additions/mods in purple): You might still get some minor cross-coupling wierdness between the two pickups at either extreme of the blend pot rotation, but I think you'll get an improvement in output, and it should certainly alleviate the issue with the blend pots cutting off the signal when they're both set to opposite extremes. As you say, anything more fancy than this will likely require a three pole switch and a significant amount of spaghetti inside your guitar
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