funkle

Here's one up for auction: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...&category=33045 The seller claims it's "Made by Ibanez" ...Hmmm, I wonder if this is true? The funny thing is that the Ibanez plant in Hoshino only makes a few high end models, most of the others are made by Samick and Cort, the same companies that make 90% of the worlds guitars, and probably make the Tradition, Dillion and Raven too. -Sven

Nice... They look strikingly similar to guitars sold by Dillion and Raven. They are both made in Korea, probably by one of the big 2 (Cort or Samick). Dillion also has some Viet Namese models now. Raven has a model PR450, and Dillion has a DR450, and Tradition has an MTP450. They're all very similar to the PRS hollowbody. See a pattern here? The models and nomenclature are strikingly similar. These almost certainly share similar origins. I had the chance to play the Dillion at a guitar show and it was SWEET! The craftsmanship was perfects, and it played like a $1K+ guitar. Real low action. They were asking $650 for it, but they regularly sell for around $300 new on eBay. I really like the Star Trek f-hole on the Tradition though - not very traditional. -Sven

If you want versatility, and good clean tones, I'd definitely look in the PAF and hot PAF territory. There are lots of good choices out there. It's tough to go wrong with the SD '59s for the price. I suppose an active PU like the EMG would cover a lot of ground, gain wise, but they are so cold and hi-fi sounding to me - it's a personal taste thing I guess. Do you prefer vintage or modern type sounds? Sven

Thanks for the link. That makes a lot of sense. I think they're probably right about it being a combination of things. A couple other factors they didn't mention; old instruments may sound better because they have been played so much, the vibrations do something to improve the sound. There's also a psychological aspect I think. If you believe something is incredible, it probably will be. Ed Roman has a post about old wood -Sven

Not exactly. I'm talking about the carved out section in the cutaway, like Wes' guitar. (Thanks for the photos Wes). This is what I'm going for, but I'd like to get it to flow more smoothly, like this (ignore the dog in the background):

In carving out the recessed area around the heel, like you see on a satriani or PRS, what are some approaches to doing this? Because of the concave shape, tools like surforms, rasps or even spoke-shaves can't get in there. The only thing I can think of is a small violin carving plane, or maybe the angle grinder trick. Thanks -Sven

I noticed that in his rant about how korina is the only worthwhile wood, he says that korina is the same as african mahogany. I don't believe this is true. Korina is African, and is in the mahogany family, but it is not the same wood. Ed roman is successful for the same reason that Jerry Springer and Howard Stern are. People love controversy.

I know there's a strong JEM following here, so I thought I'd post this: JEM Prototype It's the real deal. -Sven

I just took a few snapshots, They're here: http://www.speakeasy.org/~sven/site/radius.html -Sven

I heard you the first time!

Yep, it's the same as on mine. No AANJ. http://www.ibanezrules.com/catalogs/us/1999/99017.jpg My drawings show it accurately. There is no neck angle on the guitar. It looks at first like the neck is "twisted" in the neck pocket, but it is actually only the mounting plate that is not parallel to the back of the guitar. http://www.speakeasy.org/~sven/site/radius.html I'll take a few pics today and post 'em. -Sven

Hi, I was the one who drew the plans. The neck joint on the 540R that I based the plans on is a traditional plate style (not AANJ) but the heel is a little recessed, and it is angled so its even thinner at the high-E side. don't know if this is like the JS, but I'd be happy to take some pics. -Sven

Hi, I don't think it's marketing as much as it is perception and timing. If you look at Japan as an example, in the post war years through the '60s anything that said "made in Japan" was considered to be of the lowest quality. In the 70s, they came into their own, when their skilled labor and quality control became world-class. They nearly put the US auto industry out of business (at least according to GM) and they started making quality guitars like they had something to prove! After the lawsuits in the '70s, people started to catch on to the fact that the quality was there. And they started marketing. But the stigma still existed through the 80s, and exists today that the Japanese quality is sub-par - then there's the lingering WWII hard feeling as well. But now many of these instruments are becoming collectable, and it is almost cost prohibitive to use japanese manual labor today. If you look at Korea, or even China or Viet Nam, they are on the same path as Japan. '90s Korean manufacturing is akin to Japan in the 70s. The quality is there, and their skilled labor is more expensive as a result. I do think that some of the Samick guitars made in Korea in the late '90s are very well made, they're trying very hard to prove that they can compete quality wise. The finish, hardware and setup are all very good. I'm sure many of the RG fans here will agree. But it's going to take a while for the "made in Korea" stigma to go away. Who knows maybe some of the Korean guitars of today will become collectable like the Japanese "Lawsuit" models of the '70s. The folks at ICW are saying really good things about the new Ibanez SZ 520 (korean made) and they're all pretty hardcore fans of the Japanese made models. -Sven

The Turser's are all over eBay. That's where I got mine. I think the list was like $300. The solid-bodied ones are stupid cheap - not as cheap as that Kramer though - I'd put that in the "sacry-cheap" category. It got decent reviews at Harmony-central. -SVen

...with no headstock, a bolt neck and threaded brass inserts for the neck bolts so you could take it apart and pack it when you travel. I need one! -Sven It`s only 31" long and fits in the Fernandez Gig bag by Coffin.The Bag has shoulder straps and a waist belt like a backpack.I took it on my motorcycle to work. Still too big for carry-on and most suitcases. Very suite guitar though! -Sven

...with no headstock, a bolt neck and threaded brass inserts for the neck bolts so you could take it apart and pack it when you travel. I need one! -Sven

and most important... cheap Korean labor. Korean labor is not that cheap any more. I think you'd be hardpressed to find a Korean guitar selling for less than $400. That's why many companies are looking to countries like China and Viet Nam for their cheapest models. I have a $230 Jay Turser 335 style guitar, and it is actually pretty hard to fault. Although the construction is a little chunky, the wood and hardware is quite acceptable. And to my amazement, the pickups sound friggin' great. My only criticism is that it lacks the "vibe" of a really well made guitar. Turser sells a strat for $100 that's really pretty decent. I've played one, and it's not cheesy in any way. As for this $50 wonder, it's tough to say. If you took this guitar and upgraded it, you'd have expensive hardware on a crappy piece of wood. That's a waste in my opinion. Check out this new Turser: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...8&category=2384 -Sven

Pun intended? Basey, does it say what country it was made in? -Sven

Well put! I've heard the description that, if a normal guitar is 80% in tune, the Feiten system will get you 90% in tune. I have a hard time justifying the expense. I'd do a Plek way before I'd do a Feiten. I never realized that they actually relocate the crowns of the frets with the setup - how do they do that I wonder? My compromise is to tune my guitar to all fretted notes, rather than open tunings (like Buzz has you do it with his system). -Sven

Some people will say that the body shape effects tone. Id say that the thickness of the body will have the most effect. As far as cutouts go, the ones in the center will have the most effect, because you're interrupting the continuity of the grain between the neck and the bridge. Feedback? fuggedabowdit! Check out this FAQ I'd be pretty amazed if you could hear a difference in tone or sustain caused by a monkey grip. Besides, the benefit of being able to carry your guitar around without a case way aotweighs any loss in sound

I just did this with a fiddleback anigre top, and it looks great. I was going to add a walnut divider down the center, but the two pieces matched up so well that I decided not to. I flipped one piece over so that the fiddlback figuring created a symmetrical V pattern. I think this will work better with some woods than others. Use your judgement. We were all there once. But you'll be fine. As far as bookmatching, just take a few extra seconds to do it. Gibson, Prs...they dont. Look at their tops...mont of the time they're slightly off. Litchfield, I gotta clarify: I think what Snork is suggesting is to take a long board, cut it in half lengthwise and glue it together. This is not book-matching. Book-matching is when you saw a board all the way through its thickness, resulting in 2 halves of the same length and width, but half the thickness, open it like a book, and glue the edges together. This will give you a symmetrical appearance. Sven

Like this?

Huh, I think I heard someone else mention using an angle grinder. Angle grinders are pretty aggressive tools - they're for grinding metal and stone, right? What kind of disc do you use on it? -Sven

You wanna let me in on your secret? I've been wondering what method to use to accomplish this. -Sven