curtisa

File Name: Hipshot 8-String Fixed Bridge File Submitter: curtisa File Submitted: 24 Jun 2014 File Category: Bridges DXF drawing of Hipshot 8-string hardtail bridge for models 41160 (0.125" floor thickness) and 41165 (0.175" floor thickness). Dimensions in mm.

File Name: Hipshot 7-String Fixed Bridge File Submitter: curtisa File Submitted: 24 Jun 2014 File Category: Bridges DXF drawing of Hipshot 7-string hardtail bridge for models 41150 (0.125" floor thickness) and 41155 (0.175" floor thickness). Dimensions in mm.

File Name: Hipshot 6-String Fixed Bridge File Submitter: curtisa File Submitted: 24 Jun 2014 File Category: Bridges DXF drawing of Hipshot 6-string hardtail bridge for models 41100 (0.125" floor thickness) and 41105 (0.175" floor thickness). Dimensions in mm.

All oiled up and nowhere to go: Must be time for one of these. Saw it at the bottle shop and couldn't resist:

Is the fretboard chipped (ie, pieces missing altogether) or just flakes lifting off under the frets (ie, pieces just barely attached)? If the pieces are missing completely you can probably just mix up some sanding dust from an offcut from the fretboard with CA (superglue) to make a filler paste. Fill up the chips and sand flush when dry. Dark woods hide this best. If the pieces are still attached you can gently push them back down with a tooth pick and apply a drop of CA to each chip. Again, once dry sand flush. If the chips aren't visible because the fret sides overhang far enough I wouldn't bother fixing them. The chip out on the neck will be more difficult to hide. You may get lucky with a small sliver of matching scrap timber that can be shaped to fill the void and glued in, but you'll probably end up with a visible glue line. Match the grain and colour as best you can and call it character/voodoo? I dunno - maybe someone else has a good solution?

The neck taper is normally constant all the way from nut to heel, requiring the pocket to have a matching taper. The neck is unlikely to fall out if there is no pocket taper - don't forget the strings want to pull the neck towards the body, not push it away. It's the screws that will do most of the work in keeping the neck secure. Making a pocket taper that matches the neck is easier than you think - a bunch of clamps and a few straight, flat pieces of timber or plastic. I use a method similar to this. Example build thread It'd be far more work making a neck with taper all the way to the body and incorporating a transition to zero taper for the final neck/body join.

Get a nail that just slides into an existing screw hole on the neck without wobbling around. Cut the end off just proud of the bottom surface of the neck. Remove the nail and chuck it in a drill press. With the press running grab a mill file and shape the exposed end into a point. Repeat for the remaining neck screw holes. Re-insert all the little nail/pin/stubs into the neck screw holes and fit the neck to the body. Where the stubs are pressed against the neck pocket floor they'll leave little dimples that you can use as markers for drilling the screw holes through the body.

Thanks chaps. I think the multiscale board is going to be surprisingly easy to adapt to. The few minutes I've spent "miming" on the unfinished guitar feels pretty natural compared to perpendicular frets. The difference in the two scale lengths is only 1", so it's not overly skewed at the lower registers.

I'd also advise extreme caution re-drilling into those plugs. You've filled the holes with end grain dowels, which are notoriously difficult to drill through without the bit wandering all over the place. Avoid regular twist bits - use brad point and forstner bits in your drill press as Demonx suggests. Cutting small bits of veneer by hand is possible, but fairly labour intensive. I've had luck using a tenon saw to cut a 3-5mm slice off for heastock cap duties, and then gently thinning the slice down to about 1.5 - 2mm by sanding with a large flat sanding block and 80 grit paper. The hardest part is making it uniform thickness, and anything less than 1.5mm thickness is probably impractical using hand tools. You may simply find it easier to buy some small pieces of veneer off the shelf.

OK, now you're just showing off... Seriously, your attention to detail is superhuman.

Finally some more updates: Decided to try recessing the tuners a fraction: Mixing and applying grain filler is like making mud pies: Test fit:

The way I read the Schaller statement, above - yes, the blades are removeable/replaceable, but I would recommend sending a quick email to Schaller to confirm.

ARRRGGGH! Now you've got me doing it! Now I know what you're hearing I can hear it on one of my guitars too! As an experiment I've just taken one of my gtrs and tried what you've just done and can confirm I can make it exhibit the same "ping" too. I initially thought it was behind the nut (this particular instrument is particularly bad for it), but it's definitely not it as I can completely damp all sympathetic ringing from that area. What I did find was that I could change the intensity of the ping by changing my angle of pick attack more clockwise so the pick was striking the string with a slightly forward rake. The more the pick was striking the string sqaurely or with a slight back-angle the more pronounced the effect was. The other thing I found was that not all picks make the effect as noticeable. The worst was a red Jazz Dunlop III (the smaller teardrop-sized one). The better ones were (ironically) a red XL Jazz Dunlop III (same shape/thickness as the JD Jazz III only bigger in size) and a glossy-finished heavy gauge tortoiseshell Fender pick I had laying around.

I can hear what you're describing now, on headphones at least. It is subtle, but it does sound a lot like some kind of resonance (sounds like an F# 3 octaves above the fundamental). I can hear a similar resonance quite clearly on the open-A and -D strings too, but not on the open-B (1:08 - 1:14 of your MP3). On the A and D strings it just sounds like a +3 octaves unison. Does the resonance occur when you play an unmuted string, or if you move your picking hand further away from the bridge? I would have said it sounds a lot like behind-the-nut sympathetic ringing, but if you're quite sure that's not it then I'm at a loss to explain it. My only suggestion is to take your string damper off from behind the nut and pluck the strings behind the nut to see if one of them has the exact same pitch as the resonance(s). Maybe you need to experiment with different damping materials and pressures - sticky tape "connecting" the strings behind the nut (experiment with different types), elastic hair ties, scarves, packing foam of various densities, pencil erasers, wedging materials between or under the strings..? Beyond that you may have to simply take the guitar in to somebody who can offer some assistance in person.

Jackson website says it has an "Original Floyd Rose" trem, so the Schaller should drop straight in (they're supposed to ba made to the same specs). I assume this is the one you have? Check the Schaller website for the dimensional drawings of the trem you're wanting to install and carefully check the provided measurements against your existing KV2 trem to confirm that the unit will fit. According to the Schaller website: "When fitting the "Schaller Tremolo" or the "Schaller Low Profile" to your guitar, you can simply pull out the knife edges with a pliers and push the new ones into the insertion slot". The harder thing will be finding new replacement knife inserts to begin with.

Possibly. Any pickup will accentuate or attenuate certain frequencies that, if the stars magically align, make a certain harmonic of a particular note stand out as obnoxious to one persons' ears. Is swapping the pickup for another out of the question, even just to prove your theory? Do you have access to a parametric EQ that you could dial in on the exact pitch and notch it down a bit before heading to the amp (hint: any recording software can do this if you use software amp modelling)? Do you have any example recordings of the effect that we can listen to, preferably with a second recording of the same playing style on a guitar that doesn't exhibit the problem?

Behind-the-nut symapethic string ringing is a function of several factors - headstock angle, length of string behind the nut, tension of the string, clearance of the nutslot either side of the string as it passes over...The resonation may even be across non-related strings. That said, if you have all strings effectively dampened behind the nut then the noise can't be coming from there. You have a new pre-cut nut installed. It's still possible that the pre-cut nut slots are too wide for the strings you have installed and allow sufficient side-to-side movement of the string to cause audible interference when played open. I'm not familiar with the Regius, but if it also has a shallow headstock angle this may exacerbate the problem as there may not be enough back angle to "pin" the string securely into the bottom of the slot. Try squeezing your thumbnail against either side of the string right at the point where it passes over the nut and play the string. If the additional thumbnail pressure is enough to make the noise disappear it's likely your precut nut slots are too wide (or perhaps even flat-bottomed) for the gauge strings you're using. Another possibility is that the bottom surface of the nut or the nut shelf on the headstock has been mis-shaped with a slight foward angle allowing the nut slots to taper forward underneath the string as it passes over.

I'd actually prefer to see non-classic designs for download. Plans of Teles, Strats, LPs and SGs are a dime a dozen all over the interwebs. What about modern takes on the old designs, or (assuming the designer is happy to release their blueprints) completely original creations?

If you're sure the nut isn't the culrpit: Resonating string(s) behind the nut? Tie a sock around the strings behind the nut and see if it changes/helps things. Flat spot on the bridge saddle that may only be a problem when a particular pitch is used to excite the "noise"? First fret is a tad high, causing the open string to rattle against the top surface of the fret? Something else on the guitar rattling in symapthy with the string in question? Loose covers? Strap buttons? Battery boxes? Jack sockets? Changing from a heavy to a light gauge set of strings without checking the neck relief may have introduced other problems. Perhaps the reduced tension on from the lighter strings compared to the heavier set has allowed the neck to bow back slightly allowing some strings to start brushing against the fret tops when played?

Any multimeter should be able to read down to milli-volts. If your multimeter doesn't have an auto-ranging function you probably have a switch on the front which allows you to measure in selectable ranges up to 200mV/2V/20V/200V. It's just a way of expressing sub-integer numbers. 1mV = 0.001V. 100mV = 0.1V. Millimetres (1 thousandth of a metre). Milligrammes (1 thousandth of a gramme). Milli Vanilli (1 thousandth of a Vanilli)

Not fair. Too good. *mopes away to find a different hobby, muttering to self*

From memory it worked fine for all "normal" guitar playing styles - bends, tapping, strumming, hammering, pull-offs etc. The only quirk the Moog guitar had was that it gave best results when using strings with a high steel content (I assume because it made moving the strings via electromagnetism easier when there was lots of ferrous content). They even go as far as saying that you should use Moog-branded strings for the guitar, or D'Addario Pro Steels as a lower-cost alternative. The guitar I tried had some generic strings fitted, and its sustainability was subsequently a little weak.

My apologies, I assumed you were talking about phase-reversing the whole pickup. Changing the phase of one coil in the humbucker is another option (whether series or parallel-connected), although you may find that it sounds pretty unpleasant. Both coils being in nearly the same position relative to the string while being out of phase with each other will result in a lot of signal cancellation - it will probably sound quite weak and thin in comparison to the full humbucker sound, or even a straight-out single coil. Perhaps the OP could try some of these suggestions with the pickup. De-solder the pickup from any existing switches/pots and separate all the pickup conductors. Start combining the conductors in various ways using temporary solder connections, or twisting wires together, to find out which 3 sounds he'd like to implement on the switch.