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Monday, December 20, 2010

Money

I updated my "Bullet Project" spreadsheet, and I found that the total I've spent on parts that are in the guitar now is $681, but that I've spent $1140 on the project so far.   This makes sense as I've been through two sets of pickups (GFS, then Lace Sensor), two necks, two bridges, ...

Obviously even $681 isn't a trivial sum, but looking at the $1140 is sobering. While this guitar may be finished when the new neck is on, I could see myself fiddling further, for example

  • Replace body with another GFS Paulownia.  This could require a new bridge.
  • Replace body with a chambered Warmoth body.  Would almost definitely lead me to buy a Wilkinson bridge from Warmoth so they could installed the ferrules
  • Regardless of which body I buy, I might try the new Boogie Rail.
  • Bill Lawrence pickups
Anyway, it's quite easy to see that I could get to $2K on this project, and for that price I could have had Ron Kirn build me a truly wonderful guitar.  I don't think anyone would give me $681 for this guitar, but it doesn't feel like too much of a stretch to say it's worth that much.  But the real point is that I've been working on this project for 8 months.  I've had  lot of fun, learned a lot, and I've basically been able to deal with everything fairly well (the trem installation is an exception, but not a total failure).  It's been very satisfying to work with something physical - to draw diagrams, measure things, cut things, make little adjustments, and to ask (and occasionally answer) questions on strat-talk.    So I really have no regrets at all.  In fact, once I decide to consider this one done, I may do another.  I am also toying with the idea of having one built too, depending on what my year-end bonus looks like.

What Next

If I do another, I might do one of Warmoth's 7/8 size strats, with a chambered body . This would be very light too.    I might do it with two humbuckers, volume, tone, and maybe use push/pull pots to do a coil tap. So I'd have two knobs plus a 3 position pickup selector, which would be a Les Paul type, not a Strat blade style (seems bulky for 3 positions).


It's been a while

A lot has happened since my last post. I completely finished the "wood block" project, and it turned into a gigantic hack, which is probably why I didn't write about it. Essentially, I never figured out how to use the router bit, I abandoned the poplar wood block, and instead used a small piece of wood (Mulberry, I think) left over from when we trimmed down my son's hockey stick. It seemed to work, but it is very ugly, and I probably could have gotten away with just epoxying in the ferrules for the bridge. I did learn a lot though, and it seems to be holding. However I woul be too embarrassed to let anyone actually see what I did. Maybe I'll post a picture of it some time.

As that story wound down, I found myself wanting to get a better neck, so I ordered a very nice Vintage something or other neck from Warmoth. It's quite gorgeous, and I just installed the Sperzel tuners from the Mighty Mite neck in it. I won't go into much detail on that. I tried to create a template by making a photocopy of the Mighty Mite neck, but it turned out that the copier doesn't exactly duplicate the size (or else the back of the neck isn't totally flat). In the end, I used the "put tape on the back of the neck, press tuner in to make hole, drill hole". This worked ok, though I had to do a little fiddling to make the tuners line up nicely.

Lining Up



The neck fits nicely in the pocket.  But the holes don't line up!   After asking on strat-talk, and  measuring a few million times, I decided to plug the holes in the body and re-drill.  I had a 3/16" dowel and I used it, despite the fact that I probably should have used something with the grain going the other way.  It was quite easy and not worth saying anything about.

To make a template, I first tried doing a pencil "rubbing" of the neck, but then switched to using a photocopy of the back of the MM neck.  This seemed to work well, without the size problem mentioned above.  It lined up will with the actual neck, so I know it's ok.  Here's a picture of the result

Screw Sizes


Now my problem is this.  The pre-drilled holes in the Warmoth neck look like they're around 3mm.  This is entirely consistent with the information on the Stewart-MacDonald site, which says to drill the body to 5mm, and the neck to 3mm.   I measured my neck screws, and they are 0.164 in diameter, which means they are a standard #8.  It turns out that screw numbers are related to diameters by this formula

diameter = 0.06 + number*0.013   (valid for 1 <= number <= 10)
I still haven't found out much about the origin of these two magic numbers.  Aside from the #10 coming out to almost exactly 3/16", none of these numbers are interesting when expressed in inches.  And none of them is interesting in millimeters.   0.0.13 * 3 * 100 is around 4, so 0.013 ~ (4/3)/100 - so what? There's some information in a wikipedia article that looks relevant, and I suppose I'll read it eventually :-).

I posted a question on strat-talk asking what size to drill the neck holes, and I'll give it a little time to get some responses.  So far, one guy said to use 1/8", which is 3.18mm.

Friday, November 12, 2010

More on the Wood Block Project

First, the exciting resolution of the central mystery of the last post: the diameter of the steel ball was chosen so as to make the circle resulting from performing the Janka test have area 100 mm^2.  Fascinating.

Today I went over to Mike's Lumber and ordered two blocks for my project, and bought a router bit.  Ron advised me to go with poplar, though he said oak would have been ok too.  Unfortunately, the somewhat surly guy who took my order said it would take 1 1/2 hours, so I had to come back.  Also unfortunately, I was never able to make it back.  In the words of Blanche duBois, tomorrow's another day.

My other bit of progress along the way was to make a template out of a piece of posterboard.  I think this is de rigueur  when using a router bit, though I'm sure posterboard is not "de right material" (ha!).

Thursday, November 11, 2010

More Bridge Problems

I was having a lot of trouble intonating, and the I realized that the posts were coming up out of the body again. posted on strat-talk and ended up in an interesting thread, even getting a response from Ron Kirn. His advice was to rout out the body, and glue in a wood  block,  so that the posts would go in to the block.


For this to work, I'll need to know how to rout the body (apparently one uses a router bit), and it seems like I'd be ok with a 1/2 " diameter, 1" length bit.  There's a link to a source in the thread linked to above.  Today I traced the outline of the routed part of the back of the guitar, and made some measurements.  Here's my diagram:





So I need a block that's 2 1/4 x 3 1/4 x 1 1/2 inches.  Ron said I should use a hardwood like alder or ash, but the local lumberyard has only oak and poplar.  This launched me on a dangerous quest to understand wood hardness.   After killing a troll with a sword I found once I opened a chest with a key I got from a magical hen in exchange for an egg I'd stolen, I found out that wood hardness is measured using the Janka Hardness Test. This test measures the force (in pounds) required in order to embed an 11.28mm steel ball into a piece of the wood, to half the ball's diameter. Why they chose 11.28mm is still a mystery. There are many tables of values on the web, such as this one.

Some interesting values (some I had to find on other sites):






Ebony
3200
Mulberry
2820
Rosewood
2200
Mahogany
2200
Maple
1450
Ash
1320
Oak
1200
Alder
590
Poplar
540
Basswood
410
Paulownia
250-290
Balsa
100


So it seems I should go with oak.  I'm nervous about doing this, but I think I can do it. If I can find the time today, I'll go over to Mike's Lumber.

Friday, November 5, 2010

More on the Trem

When working to get the trem set up correctly, I noted to my horror that the posts were rocking back and forth. I removed the bridge and found that I could just yank out the ferrules by pulling on the posts.  This is the kind of thing that made people complain about Paulownia (though perhaps it could have been avoided by my having used a smaller drill size in the first place).  I glued some shaved down toothpicks (courtesy of Artie's Deli) into the holes, let it dry over night, then pushed the ferrules back in.  For one, I had to lightly tap with a hammer to get it in, which made me feel as though I was doing a good job.  And now it works!  Since I don't intend to do any heavy trem stuff, I hope to be fine.  I've got the tremel-no in there, and I'll probably just leave it tightened.

The guitar is in pretty decent shape now.  Here's my current list of problems
  • I stripped one of the intonation screws (B or G, I can't remember).  I need to replace it and also cut the spring so I can get the saddle further back.  Intonation is not bad in general, but it needs some work, in particular this string
  • It's sounding pretty decent other than the bridge pickup.  I ordered a Lace Sensor Burgundy on ebay as a replacement.  
  • The neck is ok, but I am now lusting for a nice Warmoth neck.  The one I want is $277, with  a lot of that cost being the "vintage blah blah satin nitro" finish.  I expect I will get it eventually
  • I dinged the pickguard a bit when dremeling it to fit (the trem was hitting it a little).   So I should probably replace it.
A bit more on the pickups.  The Lace site has nice information on the differences between the different models.  I ended up with Burgundy, described there as follows:

New! Lace Sensor-Burgundy: Recommended as Bridge pickup for slightly fatter tone.
  • Position: neck, mid, bridge
  • Resistance: 8.9k
  • Peak Frequency: 2700
  • Inductance: 4.44 henries
  • Music Styles: Rock, Blues, Fusion, Progressive
  • Think: Page, Gary Moore, Santana
Then I may ultimately try Bill Lawrence's NF's (280/280/298).  As always, I'd be better off playing more and tinkering less, but this is a lot of fun if nothing else.

I've also been thinking about trying something with a full size humbucker and a coil splitter on a push-pull pot. This would be a new project, though.

Monday, October 25, 2010

setting up the bridge

Clearly I need to do some work to get the trem set up right.   I was so excited and proud that I got the ferrules drilled and inserted ok, that I stopped there.  So now I'll heed the words of wisdom on the fender site:

For a two-pivot model such as the American Series bridge, use your tremolo arm to pull the bridge back flush with the body and adjust the two pivot screws to the point where the tremolo plate sits entirely flush at the body (not lifted at the front or back of the plate).
Allowing the bridge to float freely (no tension on the tremolo arm) using the claw screws in the tremolo cavity, adjust the bridge to your desired angle—Fender spec is a 1/8" (3.2 mm) gap at rear of bridge. You'll need to retune periodically to get the right balance between the strings and the springs. If you prefer a bridge flush to the body, adjust spring tension to equal string tension, while the bridge rests on the body (you may want to put an extra 1/2 turn to each claw screw to ensure that the bridge remains flush to the body during string bends). Caution: Do not over-tighten the springs, as this can put unnecessary tension on the arm during tremolo use. Finally, you may wish to apply a small dab of Chapstick® or Vaseline® at the pivot contact points of the bridge for very smooth operation.

Saturday, October 16, 2010

Hurrah!

I was able to redrill the neck and reattach it to the body with no trouble.

Today my new set of DeWalt drill bits ("brad point" bits) arrived, and so I was in a position to finish the project. Amazingly, I actually had some spare time in which to do it, right before leaving on a business trip.

I decided to use the GFS 2-point "standard" trem I had, and I succeeded in drilling the holes for the ferrules with no trouble at all.  In the end, it's all reassembled, intonated, and it works.  I can't say it's the greatest guitar I've ever played, but this continues to be a very interesting experiment.

Sunday, October 10, 2010

Switching Bodies

I am not referring to my ultimate dream of downloading my mind into a robotic body, but rather to replacing the one remaining Bullet component of my partscaster, namely the body.  After a long wait, GFS had paulownia bodies back in stock and I ordered a black strat.  It arrived recently and weighed in at 2 pounds, 10 ounces.  It feels like it's made of styrofoam when I lift it.  

I removed the neck from the COBcaster, and happily it fits very nicely in the pocket.  I tried it with and without the shim, and it seems quite straight without it.  I measured this using the level in my iPod Touch.

The bad news is that some of the screwholes in the neck don't line up correctly.   Checking them, it seems that they are actually off - that is, the holes I originally drilled worked with my Fender body, but are not actually even.  The cheapo Paulownia body seems to have been drilled better than the Fender!

Anyhow, to address this, I whittled down some dowels and plugged the bottom (closest to bridge) holes in the neck.  Now I'm waiting for the glue to dry before re-drilling. So far so good ...

Sunday, September 5, 2010

Lace Sensors

As I mentioned a while back, I bought a set of Lace Sensor Gold pickups from a guy on strat-talk.  I had been thinking about doing something fancy with the wiring, as also mentioned a while back.  I ended up buying a bunch of different connectors, and in the end, it didn't seem worth it.  Soldering is just not that hard.

While my son was playing a video game, I wired up the pickups (blender) using components I'd bought from acme, using a spare GFS pickguard to hold the stuff.  A few days later I swapped them in to the COBcaster.  I had already verified that it worked using something I rigged up based on a video (perhaps by Jason Lollar).  It has a guitar plug at one end, and two alligator clips at the other.  So, after wiring, one can clip on to the wires meant to go to the jack, then plug in to an amp, and test the pickups by tapping with a screwdriver.  Here's a picture:

The verdict: I really like the pickups.  They have a much cleaner sound than the GFS pickups, which always seemed sort of noisy to me.   Particularly through my new Vox AC4TV8, it is really sounding pretty good.  And if I want more oomph on the bridge pickup, I can put in a Lace Sensor Burgundy. The Lace site gives ratings for each model in terms of resistance, inductance and peak frequency.  I wish I understood this better - cool people say not to rely on resistance as a measure.  But, FWIW,



ModelResistanceInductancePeak Frequency
Gold5.8K2.43600
Burgundy8.9K4.442700

Saturday, August 14, 2010

More on the cool and impractical idea

After a lot of googling and musing in the background, it occurred to me that I could use computer connectors.  I ordered some molex connectors of various sizes, but the most likely candidate seems to be a 6 pin plug.  That way I can have the three hot wires on top and the three grounds on the bottom.

New Amp!

After seeing a post on strat-talk about a great deal on the Vox AC4TV8 amp, I somewhat impulsively bought one.  For $110, it seemed like not much of a risk, and I have never liked my Tech 21 Trademark 10.  It was waiting for me when I returned from a business trip.  Despite having arrived home around midnight, I unpacked it and gave it a quick try (ok, I was on Pacific time anyway, so it felt more like 9PM).

I'm really happy with it.    It's extremely simple, which appeals to my minimalist aesthetic, and the novel feature is a built-in power attenuator, which lets one switch between 1/4, 1 and 4 watts.  Perhaps I'm kidding myself, but I really love the sound, and it feels much more natural and warm (whatever that means).   My project guitar sounds pretty damned good through it, which surprises me a bit since I've been finding the sound bad when played through my usual setup of Boss Micro BR and headphones.  In fact, the other thing waiting for me when I got home was a set of used Lace Sensor Gold pickups which I bought used from a guy on strat-talk.  I still want to swap them in, but it seems less urgent. I wish there were a way to do it easily to hear the difference.  Which brings me to

A Cool and Impractical Idea

Given the simplicity of guitar wiring, it would seem very plausible to create a sort of "lego" for guitar electronics, allowing one to snap in new pickups, pots and caps.  People seem to have created various home-grown things to do this.   Acme Guitar Works uses "Cannon Connectors" whatever those are, and one guy wrote about using RCA plugs.  That is clever, but RCA plugs are rather bulky.  What I'd really like is something with a pin, like the cables on a TENS unit.  So far I can't find it though.    I bet there are people who would love something like this, but the market for it is probably so small as to make it not worthwhile.  A big company like Seymour Duncan could make it as a special feature.  In fact it would seem to help them sell a lot more pickups as people might be much more inclined to try new pickups.

Sunday, August 1, 2010

Building computers vs. Building/Assembling Guitars

Before getting interested in buildsembling guitars, I built a lot of computers, over the years between 1995 and 2005 (or so).   After having replaced almost every part of my desktop computer, I realized that if I had all the pieces, I could put them together and have a computer.  It was exciting to contemplate putting together exactly what I wanted, and I have to confess that a lot of this excitement related to being able to get a really cool case. At the time, all computers came in a boring IBM-inspired beige color.  I could get a cool translucent blue tower!

I did a bunch of reading on the web, and began to order parts.  I did indeed get the translucent blue case, and eventually got all the other parts, probably from newegg, assuming it existed then. Maybe I'm thinking of egghead?   It went very smoothly and I used the machine as a music server, running linux.  I went on to build many others, for myself or my kids.  While I never built anything that qualified as a "hot rod", I got pretty experienced, and even dared to do some laptop repairs, which is always quite an adventure because disassembling them is challenging, and probably impossible without a manual.  I got very confident was able to swap in parts very quickly.  I remember replacing a dead power supply one morning before work, working on my kitchen table and impressing my baby sitter.  I never did anything too gonzo, like heavy overclocking, but I did one solder in a new fan in a power supply for my brand-new Shuttle SV-24, the first of their now popular small breadboxy barebones machines.

It was always pretty clear that I wasn't saving money by doing this, but I suppose one could argue that I saved money on subsequent repairs because I could do them myself.  It's a bit of a stretch.  Certainly now, unless one wants specific ultra-good parts, it's hard to do better than getting a Dell or something like that.   If I had to get a new machine now, I would likely go for a Dell, unless I were to go Mac.

Assembling vs. Building

I, and other people who put together computers from parts, always refer to it as "building" computers, and not "assembling".   In the case of computers, there's a limit to how far one can go as far as creating individual components.   Almost no one can design and then build his own video card from scratch.  And even if he could, he'd be buying various ICs and other components for it.   This is a little different from the world of guitars, where it is not outside the realm of possibility that someone could, for example, build a body starting with a big rectangular piece of wood.  Even pickups can be made by hand, as they were back in the good old days. Because of this, guitar guys seem to be very touchy about differentiating between "assembling" and "building", reserving "building" for what real luthiers do, cutting bodies from wood planks, etc.   However it seems permissible to buy pickups.

Some Differences

There are some interesting difference between assembling computers and assembling guitars.  One is that guitars require some serious fine-tuning in the form of a "setup" in order to be usable.  This involves lots of fiddly adjustments, none of which may be rocket science, but which are complex (at least to me) when taken together.  With a computer, if the parts are put together correctly, that's it.  A DIMM is either correctly installed or it isn't, and there's no room for small adjustments.  Since the setup makes the difference between a guitar that's playable or not, it's a serious difference.  The closest thing I can think of to a setup for a computer would be maintenance like removing dust, replacing an old fan, reseating a card.  However fans don't die often, and the only time I had to re-seat a loose card was once when a card was loose in a machine that had just been shipped to me. They don't wriggle free on your desktop.

Another important difference is that instrument components are variable.  With computers, two components that are nominally the same, are functionally the same.  That is, an XYZ optical drive from NEC will be indistinguishable from another XYZ optical drive from NEC. And in fact, the new XYZ2 is probably ok too, perhaps a bit faster, though that may not be distinguishable for most purposes.  Guitar components, particularly those made of wood, are different.  It's very routine to hear people say "I got 3 swamp ash bodies, and they sound entirely different".  Statements like this aren't made very scientifically; that is, the person usually didn't compare the bodies when used with exactly the same components. And the comparison is subjective, i.e. it sounds different in some way.   It seems reasonable that this would be the case.  Two different pieces of wood, though of the same type (e.g. swamp ash) may still have different densities, defects, ages.  These are things that grew, not things that were etched into silicon wafers in a sterile environment.  A statement like "I swapped my Creative Labs XYZ sound card v1.2 for a different Creative Labs XYZ sound card v1.2  and the difference is phenomenal" is unthinkable.

Then there's the effect of aging.  With the possible exception of some classic IBM keyboards that appeal to a niche market, newer is always better with computer stuff (leaving aside products that turn out to have defects).  With guitar components, even electronics, aging is thought by many to be an important factor.  With electronics it seems to be the "they don't make 'em like they used to" kind of mentality, and it even extends to capacitors.   As above, it doesn't seem unreasonable that this might be the case for wood components.   Wood does (I think) change over time.  Certainly the piece of wood that's the top of your dining room table has changed since it was cut from a living tree which contained a substantial amount of water.  From a bit of googling, it seems that guitar wood can be around 6% water, and it's reasonable to expect this to change a bit over time. Air is supposed to be 1-3% water, so maybe guitar woods (if not sealed) migrate towards that.  I think this part of the argument made by nitrocellulose paint adherents - that nitro allows the pores of the wood to be open, and polyurethane doesn't, and that's bad.  However there is not universal agreement on this point.   It seems undeniable to me though that different pieces of wood, even of the same species, can have different acoustic properties.  As a side note, for trees, genus refers to a top level classification such as "Ash", and species refers to something like "Spunky Ash" (cf. this interesting note from Ron Kirn, a highly regarded luthier).

Commonality

In both cases, parts must be chosen (or built) that work together.   You wouldn't build a shredder with a vintage 21 fret neck.  You wouldn't put very  a high end video card into a system that's intended for browsing and email.  Both instruments and computers fall into wide classes ("high end graphics", "digital audio workstation", "shredder", "vintage strat") for which there are certain subsets of choices of components that make sense. 

Conclusion

There does seem to be a real difference here.  It seems much easier to assemble a perfectly satisfactory computer, due the lack of something analogous to the setup process.   Once the parts are assembled and it works, then it works.

Saturday, July 31, 2010

Interesting Neck Thread

This thread has some interesting information on allparts and mighty mite necks, as well as tru oil finishing. It seems that tru oil is not hard to apply and is a good choice for someone like me who wants to try starting out with an unfinished neck.

Some day maybe I'll build a stompbox

General Guitar Gadgets

Fretting

A little clicking and I found a post on fdp.com that says:
Here's the info I got from Fender when I asked.
Fender medium jumbo/standard fret wire:
The Fender Medium Jumbo wire is .046" x .103"
So now it's clear that this is what is on the stowaway. Also, looking at the fret size information at Warmoth, I see that this is the same as the Dunlop 6150 size. From the Warmoth site:

Item NumberWidth X HeightDescription Used By
6230 .080" X .043" This is the smallest fret wire.Vintage Fender necks.
6130 .106" X .036" Often referred to as "Medium Jumbo".Many Gibson necks.
6150 .103" X .046" A true "Jumbo". It is about the same width as the 6130 but a bit taller.Modern Fender American necks.
6105 .096" X .047" Narrow and tall. A popular choice.
6100 .112" X .055" Huge! This is big stuff for the almost scalloped feel.Common on Ibanez necks.

This makes me feel a bit better, as it's clearly a respectable fret size.  The neck width is another story.  Now what's troubling is that none of the Allparts necks use this size. Here's a table I distilled from looking at around 20 strat necks on their site.  Note that there's some inconsistency, in which the same name is used for different wires. I sent them a note about this - no response.  Based on this, I wouldn't feel comfortable ordering something from them, as I'd have no idea what I'd really be getting.


Name Size
Jumbo .118" x .055"
Jumbo Modern .114" x .055"
Jumbo Stainless .098" x .047"
Jumbo Stainless(!) .110" x .055"
Tall .095" x .055"
Vintage .079" x .043"
Vintage(!) .079" x .051"

Friday, July 30, 2010

Hand Size

I played my Stewart Stowaway while on vacation and I realized I really like the neck.  When I got back I immediately measured it and found:


Radius9 1/2 inches
Width at 1st Fret0.80 inches
Width at 12th Fret0.93 inches
Fret Size0.043x0.105 inches


This is kind of disappointing, since it's a thin wimpy neck with low frets.  I'm getting the impression that cool guys use fat necks with jumbo frets.  Actually these frets seem weird to me, since they are quite low, but also quite wide.

I've been wondering about how hand sizes are measured and how that correlates to what the ideal neck dimensions are.  I had asked Warmoth about this, and the answer was that it's not possible (or they don't know how) to infer the right neck size from hand dimensions.  Ha!   I found some useful data at the anthrokids website. Based on some very sloppy measurements, it seems that my hands are quite average size, except for a long index finger.

Tuesday, July 20, 2010

Shimming

I decided to take  another shot at shimming (sounds like the "attempted to tempt her with Tempters" commercial).  I found the comments on this site to be helpful.  This time I obsessively measured the thickness of every piece of paper I could find and finally settled on a method in which I started with a piece of printer paper the size of the neck pocket and then laid on layers of painter's tape so that I got a gradual slope from the width of the paper (I've forgotten what it is) to around 0.75m, which is what that NYHRC card was.   I punched holes with a hole punch, then re-punched when it turned out I'd screwed up, installed it, and it seems ... no different, but certainly not worse.  In a fit of sentimentality, I wrote my name and the date on the shim.  Perhaps one of my kids will disassemble it in 30 years and be inspired to heave a wistful sigh in memory of me.  Just the sort mawkish sentimentality which I claim to despise, but there you have it.



After having strung up, I installed the Tremel No (again), and started the endless process of setting up.  After many, many iterations, I think I have the relief and action right, and the intonation is almost ok.   I was helped in the latter by my new toy, the Turbo Tuner ST-200, a genuine strobe tuner.  What this means exactly is a bit unclear to me, but it seems to be a much smarter sort of tuner than the usual.   When one hits a string, it vibrates at its fundamental frequency, and all integer multiples of that frequency.  For example, hitting the open A string, which is A2 (110Hz), results in some mixture of 110, 220, 440, 880, ... vibrations.  The "amount" of each of these determines the tonal characteristics of the sound that's heard. Or something like that.  Anyhow, the tuner knows this and, presumably after determining the fundamental frequency (which must be the closest "real" note to the loudest), it must compare that frequency, and all others it finds by doing an FFT to integer multiples of the fundamental frequency and display these differences in a groovy circular display.   It takes some getting used to, but it's fun.  I bought this one instead of the polytune thinking it was "cooler".  It is, but the polytune may be better to use on stage, not that I'm on stage that much :-)

Monday, July 19, 2010

Crossroads

I got the Tremel No set up ok, and it seems to be doing the trick.  I think I'll either use it to lock down the trem (most of the time), or to let it float.  I don't know why I'd want to be in "dive only" mode, but there's  a lot I don't know.

I'm still quite bugged about having to shim the neck so much.   A wise man with whom I consulted says that Mighty Mite necks are mostly crappy, and that mine most likely is too.   So I'm thinking of bagging this neck and buying an allparts neck

Saturday, July 17, 2010

More Shimming

I spent some time compulsively measuring the thickness of everything credit-card like thing I could find around the house.  In the end I decided to

  • Lower the saddles so that the height was correct.  The height at the nut was 0.051 inches, and the body to neck height in the middle of the diagram was 0.0343, so the saddle height should be 0.394, which is just a little under 25/64. I used my Stewart MacDonald String Action Gauge to adjust the height of the low E string first
  • I cut a shim from my old NYHRC card.  This card is 0.75mm, substantially larger than the Metrocard, but still not quite as thick as a credit card.
Interestingly I once again had to loosen the truss rod to add some relief and, even having done that, I've got something like 0.006, which is rather low compared to the Fender spec.
Wow that's an irritating animated GIF.  If anyone other than I read this blog I'd have to remove it.  With this shim in place, the guitar seems a lot better.  The saddles are lower. It does bug me to have that gap between the neck and the pocket.  I'd be happier with a tapered piece of plastic that has screwholes and fits across the top of the neck fully.  Maybe I'll try to do that next.

An Interesting Observation

With the shim, and lower saddles, and the guitar tuned up, I find my trem is decked! This means the string tension is undoubtedly lower.  I don't get that.  I would have thought that a certain fixed amount of tension would be required to get a particular string to a particular note and that's it.  It must be more subtle than that.  With lower posts, various angles are different, and so some physical quantities must be different. Torque or something like that?  This is just the kind of lesson I was hoping to learn from doing this project.   Even if there's a paragraph in some Erlewine book that says the same thing, it becomes real only through having observed it "in the wild".  

To Float Or Not To Float

Should I loosen the springs now?  I have no float at all. It would seem stupid to have the Tremel No in there and not have some float. I wish I knew enough physics to understand this a bit better - or at least had better intuition about this kind of stuff.  Loosening the springs will decrease tension "exerted" by them.  The guitar will go out of tune (flat) and the bridge will float up a bit.  Then I'll tune it and the bridge will float less due the increased tension from the strings being tighter.  Or something like that.  

I've seen derisive comments about statements like "string tension should equal spring tension".   It seems those deriders are saying that the correct thing to say is "torque from the strings should equal torque from the springs". I can't say because I don't know what it means, unlol.

Shim

It's really been bugging me that my saddles are so high, as described in the last post (I think).  Just look:


The screws on the saddles are screwed in almost all the way.  As I mentioned last time, I looked around, and it seems like either shimming the neck (whatever that really means) or "shaving" the neck is what's called for.  But I have no real idea what's involved in either.  This thread on strat-talk was quite helpful.  I shimmed the top of my neck using a NYC Metrocard, which turns out to be 0.35mm thick, versus a credit card which is around 0.82mm thick.  To help myself understand what's going on, I created this picture using gliffy.


It was quite helpful to me in understanding what's going on. On the left, of the picture is the nut, and the line joins it to the bridge saddle on the right.  The bump in the middle is there because the neck doesn't join up flush with the body, but rather the top of the neck is a bit above the body.  I created the first diagram, then duplicated it twice and moved the nut down, then up to show the result.

What do I take away from all this?  If everything is exactly right, then if the saddle is adjusted so that the contact point with the string is at the height equal to the sum of the height of the nut (defined as distance at the nut from the neck to the string), plus the height of neck above the body, then the distance from the neck to the strings should be constant along the entire neck.

If the neck is angled back, as in the second picture, the distance will narrow as one goes down the neck. And if it is angled up, then the distance will widen.

It does seem better with the 0.35mm shim, but not good enough.  Next, I plan to do some careful measuring, then set the saddle height to where it should be and try to get an idea of the size of the required shim.  I'm very tempted to contact Rob DiStefano, a well-known local builder who I bet could really get this thing into shape. OTOH, I'd really like to do it myself.



Thursday, July 15, 2010

Bleh

My new sustain block arrived, and it was indeed the right one!   I promptly ignored all my plans, as described here, and started hacking away.  The result is that the guitar is once again fully assembled, but without shielding or the new black pickup covers.  I say "fully assembled", but that's not really right.  The Tremel No is not fully installed, and much more importantly, I really think the neck is sitting too high in the pocket.  The saddles are almost as high as they can go,  and it just seems wrong to me.  I fear that the right thing to do is to "shave" the neck, and it seems (insert ref) that the mighty mite necks may have a problem that requires this.    I have a real horror of anything that involves woodworking - even drilling holes for the tuners terrified me.  Maybe I just have to get over it.

Later today I'll post a question on strat-talk, and I may disassemble it and do some measurements of the neck and neck pocket and compare them to the dimensions given on the Warmoth site (see the link under "Diagrams" here). 

JB JR

I also expect my JB JR to arrive today or Monday at the latest.  It's a bit of a risk to install the pickup so close to the time of the gig, but I think I can handle it.  I may skip the push/pull coil tap at first, though it really seems quite easy.

Wednesday, July 14, 2010

Sustain Block Arrives Tomorrow

Or at least that's what I think!  Hurrah.

On other fronts, I've decided to replace the bridge pickup on my American Standard strat with a JB JR, which is a humbucker in a single-coil form factor.  Since I have a push/pull pot on hand, I may wire it up to coil split when the pot is pulled up, as explained in these instructions from the Seymour Duncan site.

Monday, July 12, 2010

Playing vs. Playing With

Tonight I practiced, rather than noodled around with my project guitar.  I'm very proud of myself.  This is probably less out virtue than out the fact that I have a gig coming up.  

Sustain Block

My sustain block still hasn't shipped.  What a drag.  I'd like to use this guitar for a gig on the 22nd, and to do that I'd have to use it in at least one practice. In the mean time, there's really nothing stopping me from doing the shielding and swapping out the pickups.

Sunday, July 11, 2010

What's Left To Do?

I think I'm actually almost done with this project!  What remains to be done is

  • Install the black pickup covers; though I checked the measurements, I haven't actually installed them
  • As long as the pickguard is out, put in the copper shielding
  • Clip the ground wire that goes to the trem claw off the pot and attach to the shielding instead!
  • Once the package arrives from GFS, reassemble the trem 
  • Install the trem and get the Tremel No working 
  • Probably intonate!
It's disgraceful, but I'm thinking about what to do next.  If I just buy a Paulownia body from GFS, I have all the other stuff I need to assemble another partscaster!

p.s. I actually did do some guitar playing these past few days!

Friday, July 9, 2010

Fixing the Claw Screw Holes

I took my inspiration from this wonderfully informative and witty thread on strat-talk.  Here's a recap


Here's a picture of the way the claw screws were.  You can see that there's not enough distance  between the screws,  but what you can't see is that the right screw is on a very steep angle. I decided to plug and redrill both so as to get the positioning just right.





Although I already  ordered a 12" long 1/8" aircraft drill bit, I learned on strat-talk that I could just buy an extender for my drill, which I managed to obtain at my friendly neighborhood Ace Hardware. The picture below shows it in my drill, ready to go.  Also, under the drill you can see the dowel I'll use to plug the holes.





This next exciting shot shows a hole drilled out, and a dowel ready to be glued in place. This is a swamp ash "vintage tone" dowel - the same kind as used by Pinetop Sideboard, author of "Endust My Broom".






Once the dowel was in place, I redrilled, based on an ingenious cardboard template of my own design.  I coated the screws with wax from Yehuda brand Shabbos candles and, as some people think they say in France, viola!



OK, not perfect, but quite a bit better, and certainly good enough. The only problem is that the guitar now spontaneously plays Bei Mir Bist Du Schoen.

I feel a lot better after the fiasco with the screw extractor.  I've been wanting to do this for a while!


A Box Arrives From GFS

Another box of goodies from GFS!  This one contains



and most importantly



or rather that's what it should have looked like.  Instead, and to my utter amazement, I ordered the wrong one! What I need is the "import" model with the hole for the trem in the center of the block; what I ordered is the "mexican" model, with the hole closer to the back of the block.  Rats!  So I immediately ordered the right one, and dropped off this one at UPS to be sent back to GFS.  I'm so disappointed as I really wanted to get this done.

One bright note is that the pickup covers fit.    And now I have to wait some more.

What To Do In The Meantime?

The screws for the claw were drilled really badly.  They're not properly separated, one is at a bad height, and too much of an angle.   Terrible isn't it?




A while back I bought a  1/8" dowel so that I could plug and redrill the holes, but I still haven't done it.  Now's a good time ...



Tuesday, July 6, 2010

An Even Worse Setback

I couldn't get that screw extractor to work :-(  I think the arm broke off too deep inside the block for it to take hold.  Bleh.  So I have to get a new sustain block for $20.   I was so sure this would work too. The silver lining is that I get to order more stuff from GFS, so I ordered a sustain block, new saddles and some adhesive-backed copper foil for when I get around to shielding this thing.   Another advantage is that my pal Curtis at GFS was able to find some black pickup covers that will fit these pickups and he threw them in to the order.


What's This About Pickup Covers?!

I should explain about the pickup covers,since I seem to have forgotten to record this fascinating interlude in my saga.  When I ordered the pickups, I also ordered some black covers that would supposedly fit them.  To quote the GFS web site:
The oversized magnets on the best GFS Strat sets can be very tough to shoehorn into a standard USA sized pickup cover- so we offer these custom made covers to fit our Premium, Authentic and JH EXP sets. We ship a set of 3.
But when I tried to install them, I found they weren't deep enough. Just look at this picture and notice the wire, clearly visible on the left!











I corresponded with Curtis, who told me that some of their recent shipment had not been sized correctly.  I sent him this diagram, based on painstaking measurements made with my digital caliper.  Note that the covers that were too small are a full 1mm lower (measurement "A").  Happily, and as you know from having read the opening paragraph carefully, Curtis found me some that are the right size, and he added them in, gratis, to my new shipment.




Monday, July 5, 2010

Setback

I got the Tremel No installed with no trouble except that ... my tremolo bar snapped off when I screwed it back in.  Crap.  This takes me back to the days when I would routinely snap off the bar while trying to imitate Ritchie Blackmore.  I'd have to take the guitar to Sam Ash and have them drill it out.   The tech would make me feel like an idiot, or at least that's how I remember it.  Maybe I was just embarrassed.

Regardless of what actually happened, I resolved to deal with this myself, and rushed out to buy a cool drill bit called a screw extractor.  It's a cool idea.  One end of the bit is for "burnishing" the exposed part of the screw head.  The other part is a reverse-threaded bit.  One drills in to the stuck screw using this bit, in reverse, resulting in the screw "un-drilling".    Once my drill finishes charging, I'll try it out.




I removed the bridge and detached the block, so I'm ready to go.  I should have bought a vise, but will live without it.


Saturday, July 3, 2010

Tremel No

This is exciting.  According to the USPS site

Your item was processed through and left our BETHPAGE, NY 11714 facility on July 2, 2010. The item is currently in transit to the destination. Information, if available, is updated periodically throughout the day. Please check again later.
 Now I remember that it's FedEx that doesn't do weekends; this is the plain old US Portal Service.  Hurrah.

I'm off to go kayaking with strato51573r, then lunch with our stratom07h3r and it should be here when I get home!

Friday, July 2, 2010

Finally Installed the Pickups

I finished wiring, and ... it didn't work.  I decided it was my attempt at star grounding, so I undid it. Still didn't work.  Finally I studied the Acme diagram and blew up the section with the tone pot.  I realized that what I had intepreted as a soldered wire from the back of a pot to one of its tabs was actually a bent wire coming from a capacitor!  That connection had been bugging me anyway, as it seemed not to make sense.  And in fact it didn't - all the signal was going to ground I supposed.  Once I fixed that, I was all set.

It sounds pretty good.  I really like the blender pot, and I definitely like having just a single tone pot. Now I just need my Tremol No.  Unfortunately it was sent via USPS, and so I may not see it until Tuesday.

I've been thinking about that thread on strat-talk, in which one poster remarked that one has to think whether one wants to "play with guitars" or "play guitar".  I've spent all my time doing the former, and having a great time, but I don't want to lose sight of the latter.

Thursday, July 1, 2010

Tremel No Ordered

OK, I ordered one on ebay for approximately $50.  I was convinced by the review I read, along with the sound clip that clearly illustrated the improved sustain.  It's very hard to restrain myself from buying these gadgets, despite a strong belief  that I'd be better off as a musician if I were to ignore "playing with guitars" and focus on "playing guitar".   I have to look it at as being a hobby activity distinct, but related to, being a musician.

Installing Pickups

OK, I started installing the pickups!  I decided to install them in a spare pickguard and then transfer them to the guitar's pickguard once done.  As mentioned yesterday, I bought some ring terminals for a pittance, but didn't emerge unscathed, because I decided to get a better multimeter, one that would do a continuity test and beep rather than just display something, the former being much more satisfying. Another $30 lost to this gear habit; OTOH I do like this one a lot more than the tiny portable one I bought a while back.

As mentioned, I'm doing the blender wiring thing.    Also, following the suggestion from a guy on thegearpage.net, I'm doing star grounding.  Even though the guy at Searcy Pickups said it's stupid, at the very least it seems much neater. I'm breaking it up into steps
  1. Solder all ground wires to the ring, including the claw and jack wire, except for the volume pot ground
  2. Solder all connections to volume pot
    • volume pot → switch
    • volume pot → tone
    • volume pot → output wire for jack
    • volume pot → ring for ground
  3. Solder all pickups to switch, and solder the switch to the blender pot. Note that the bridge and neck wires will each share a wire with the wire going to the blender; twist them together first
  4. Solder the cap on the tone pot - note diagram says 0.047 not 0.022!
  5. Test
Today I did Step 1.  It was pretty easy, and using the new multimeter was great fun.

As for step 5, here's my approach to testing.  First, a reminder of how the blender pot works: when on "10", i.e. fully clockwise, it has no effect.
  • When the switch is in position 1 or 2, turning the blender towards "1", i.e. counterclockwise, mixes in the bridge pickup
  • When the switch is in position 4 or 5, turning the blender towards "1", i.e. counterclockwise, mixes in the neck pickup
With this in mind, I'll temporarily solder the wires to the new jack, then plug it into an amp.  Then for each switch position, I'll do this:
  • Switch to appropriate position
  • All pots to 10, tap each pickup which should be on with a screwdriver, and note response from amp
  • Blender pot to 5, tap each pickup which should be on
  • Blender pot to 0, tap each pickup which should be on, expect stronger response from mixed in pickup
 Also, it can't hurt to see if the tone pot is doing anything, though that may not be discernible.

What Comes After Testing is Completed?

  1. Remove neck and reinstall with new neckplate
  2. Remove pickguard and transfer new electronics to it
  3. Install new pickguard, threading through claw ground wire, but not attaching permanently
  4. String up and test
  5. Once Tremel No arrives, install, solder claw ground
  6. Intonate, adjust, etc...

Tuesday, June 29, 2010

New Pickups

Some new gear arrived yesterday from GFS:

  • Alnico II Premium Blah Pickups
  • Jack Plate and Jack
  • Neck Plate (and screws)

The last one is important because the current one says Squier on it.   I'm wondering if the GFS one really will be heavier and whether that means anything.  At the very least though, this removes the last observable vestige of Squierdom on the guitar.

I'll be trying out blender wiring, and I'm doing some research - found some interesting information on this thread.


Someone on that thread also mentioned star grounding, so I hastened to Radio Shack and bought some Star Ring Terminals.   At worst, it will keep things neater.  I really should have bought some copper to shield the body while I was at it.  Bleh.  Anyhow ... I'll solder the 3 pickup groups plus the ground from the volume pot, plus the claw ground to this thing, then run a wire from it to the jack ground.  Once I do the copper thing, I can screw the terminal into the copper and I'll be done.


Saturday, June 26, 2010

Setting up and more things to buy

I was prepared to admit defeat yet again, but I think I've got it set up decently. My new feeler gauges helped me to be more confident that I hadn't messed up the truss rod. I compared various measurements to the tele which NY Guitars (30th street) had set up for me recently and they matched pretty well. That is, I capoed the 1st fret and looked at the clearance at the 8th fret when depressing the 22nd, and it pretty much matched. Ditto for the string heights at the 17th fret. So maybe it's ok. It still doesn't feel great, but I think I'll hold off taking it in for a setup and continue tinkering. Besides, I may install a Tremel No, and then I'd be back to square one as far as setup.  I still can't see how "the pros" can possibly deal with a floating trem, though of course they do.

ST-200 Stomp Box Strobe Tuner
Not only can I waste some more money on a Tremel No, I found a review on thegrearpage.net of a really cool tuner, the Turbo Tuner ST-200.  I'm sorely tempted to drop $129 on one.  Using the tuners I have makes it harder to set intonation, which I seem doomed to do frequently. How could I possibly live without this gadget?

Thursday, June 24, 2010

BuildYourGuitar.com :: The Secrets of Electric Guitar Pickups

Here is quite an interesting article on the relationship between electronics and the characteristics of pickups:

Bending Woes

For a day or so I was quite happy with my new setup.  Then I played this standard riff: 

            -------------------
            ----10-------------
            --7b9--------------
            -------------------
            -------------------
            -------------------
 
and it sounded terrible because the B string went flat.  From a mechanical view, it was clear why this was happening.  Bending the G increases the tension on the bridge, which moves forward, thereby decreasing the tension on the other strings, in particular the B.   

My first reaction was that this was due my having floated the bridge.  I believed this for around a day.  However it seems that this can happen in any case, so long as the bridge is free to be pulled forward by the force of a bend.   This led me to believe that the strat's design was just fundamentally flawed, at least for any player who wants to do bends and doesn't block (or severely tighten) his trem.  However the real world is full of counterexamples and I still don't really get it. Some people on forums say that they have learned to deal with it.  One guy even says he presses down with his palm while bending to get around this.   I don't like that at all.

Wednesday, June 23, 2010

The Ship of Theseus

I guess I'm not a brilliant philosopher after all.  In an earlier post, I raised the question of the point at which my crappy squier becomes a different guitar, or even whether it will always be the squier because the starting point influenced my choices for replacement components along the way.  For example, even if it ends up with an el primo callaham trem, that trem will be an "import" size.

It turns out that this line of thought is referred to as The Ship of Theseus, referring to a ship that belonged to Theseus being kept in repair in a museum, which ultimatley replaced all its parts.

Friday, June 18, 2010

Mettere su le corde della chitarra con il metodo di Frudua

Last night, while watching a ball game with stratoh4x0r junior, I decided to restring using the method described in the charming video posted by Galleazo Frudua, an Italian luthier.  Aside from specifying a great deal of judicious string-stretching, the novelty seems to be the idea of repeating this process for each string:
repeat
    string.tune()
    bar.slamDown()
    bar.release()
until string.isInTune() 
Fudua stresses that, having done this, one should not touch the tuners when the guitar goes out of tune - just hit and release the bar. He also says that the last thing one does after a solo should be to hit and release the bar.  It seems to work pretty well, and it does make sense.

I note that in another video of his in which he talks about tuning issues and locking tuners, he doesn't espouse the 1,2,3,3,4,5 O'Clock settings as everyone else seems to.  Instead, he seems to use 6 O'Clock for everything.  Hmmm.

Wednesday, June 16, 2010

Pickup Covers!

My new pal from the forums at squier-talk.com sent me the pickup covers, and they arrived yesterday!   I installed them, and they fit perfectly! I also took the opportunity to switch to using surgical tubing instead of springs for the pickups.  I like that a lot better - the springs are so cumbersome to keep in place.   I have no idea if they are sonically better, worse or the same.  I suspect that for my ears it's all the same.

So what's left in this project?   I will certainly replace the pickups at some point, and try some interesting wiring.   Certainly a blender pot.

Friday, June 11, 2010

Was it a Good Idea to Buy a New Neck?

It occurs to me that maybe I should have bought a used neck.  At least then I'd know (or have reason to expect) that the nut was ok, and that it was finished properly. Oh well.

Thursday, June 10, 2010

Throwing in a Towel

After all my effort to set up the guitar, I just couldn't get it to feel comfortable to play.  It was clear the neck was just not adjusted correctly, and I gave in and brought it in to Evan for a setup.  Sure enough, he took one look at it, got out his trusty allen wrench driver thing and tightened the neck.  I had "way too much relief".  I still don't get it, which is discouraging.  But now that I have it back from him, I can feel that it plays much better.  I'll measure everything and make sure I have a better idea of what a correct setup looks like.

Happily he kept the "Verheyen setup", i.e. I still have the ability to bend up nicely, so I will have fun messing around with that. 

Wednesday, June 9, 2010

Still a Work In Progress

I have actually done quite a bit since the last post. I know I've let my readers (hello again Mom) down by not posting regularly. Also, this project hasn't quite gone the way I'd planned, since after Mrs. Stratoh4x0r gave me the cool pickguard art, I really wanted to get it to be usable quickly. So I blitzed through installing the neck, which went fine (I think, more later), and have now got it set up (more later too).

Installing the neck was not bad at all. I had been terrified because everyone was telling me I had to have a drill press. In the end, I just made marks through the body where the holes should go, shifted them a bit up towards the nut, following advice from Ron Kirn in a strat-talk thread. It seems snug and also straight. Hurrah.

So what's left of the original at this point?
  • Body
  • Electronics (all)
  • Screws for switch (blackened with a sharpie)
Yesterday I strung it up and did a setup.  This was delayed a bit because one of the holes for the claw was enlarged and I glued a toothpick in it so the screw would have something into which to sink its teeth (or whatever screws have - threads I guess).





I followed the Fender 10 Step Setup as described in Dan Erlewine's book, and Erlewine's other instructions on tremolo adjustment/installation.  The only wrinkle was that I didn't have a wooden wedge for the trem block.  So I used a bunch of quarters and a dime.  It seemed to work, though I felt ridiculous when I was tightening the claw waiting for the coins to fall out.  Then I got interested in a Carl Verheyen video about setting up trems, or, as he says he prefers to call it "the wang bar".  Apparently he's a famous guy.  He certainly plays well and, while the jury seems to be out on whether what he says makes sense, it seemed to work - he sets up the claw in an angle with more tension on the bass side to "counteract" the extra tension of the bass strings.  The G bends up a 3 semi-tones, B a whole tone, and high E a half tone. And here it is:



Having done this, and having a fairly easy job setting up the intonation, I decided it plays terribly.  It feels really stiff and I have no clue what to do next.  So I'm taking it to my great guitar tech on Thursday.   As I see it the issue could be
  • Neck needs a shim
  • Nut needs filing
  • Truss rod off
  • Generally bad setup, though nothing major like the above
I forgot to mention how much I agonized about the truss rod.  It seemed that the neck was bowed so I loosened it.  I tried the "string as straight edge" and also used a straight edge.  In the end, the truss rod was already pretty loose, so I don't know if loosening it did anything.  It seemed to.  But I wouldn't be surprised if I did exactly the wrong thing.  While I now feel comfortable with adjusting intonation, I still don't get neck adjustments, and I can never tell anything by looking down the neck the way cool guitar guys do.  Sigh.

Pickup Covers


A bit of  weirdness.  I bought some generic black pickup covers from allparts to replace the white ones.  They didn't fit! The pole piece spacing was off for the bridge pickup, and they were too shallow.  Then I learned that imports are 14.7mm high, and can have 50mm pole spacing, as opposed to the usual 52mm pole pacing.  I can see that the depth is due to the weird design in which the magnet sticks out of the bottom of the pickup.  I'm guessing that Fender had the opportunity to buy 17,000,000 of these cheap from a factory in China and that dictated the dimension.   As for the spacing, bleh.  That 2mm screwed me up, and I had to enlarge the holes and it looks crappy.  However ... a nice guy on strat-talk explained this to me and I did ultimately find what I needed on a UK guitar gear site called axesrus.   I clicked through an order and found that the shipping fee was a cool £1,000,000, very funny.   However that same nice guy volunteered to mail it to me if I ordered it and had it sent to him!  Yet another example of niceness in the online guitar guys community.

The Nice Guy On Strat-talk

The pickup covers arrived in the UK, and the Nice Guy mailed them to me, and didn't even want the money to cover shipping!  So now I've saved £1,000,001.82.  Perhaps there is hope for humanity. I like to think I would have done likewise.

Sunday, May 23, 2010

Pickguard

Today was my birthday, and Mrs. Stratoh4x0r gave me a canvas painted in the shape of a pickguard, to use in my project.  I'd bought a cool clear plexiglass pickguard from stewmac, and she did a  great undersea theme which fits beautifully, or anyway fit beautifully after some fiddling.

And here it is!  I ordered an aluminum pickguard shield from GFS to put between the canvas and the body.  This is good for shielding yada, yada, but will also help to keep the canvas nice and flat. I also ordered some stuff from allparts

  • Black pickup covers
  • Mint green knobs and switch cap
  • Black screws
  • Green switch cap (as an alternative to the mint green)





The Mystery of the Two Lines


But what are those two mysterious lines on the left of the body?  Foreshadowing.  I was starting to look at how the neck fits.  The strat-talk thread I mentioned earlier has a suggestion that one put in the neck for fit, then install fishing line in place of the E strings to ensure the strings are in the right place on the neck.

The suspense is palpable ... so let me tell you that the neck seems to be lining up fine.  One thing I found troubling is this: I measured the distance from the 12th fret to the saddle, with the saddle as close to the nut as possible.  I'd expected to get a little less than 12.75 inches, half of 25.5, which is the scale length of a strat.   But it was longer - not by a lot by definitely longer.  I'll have to look in to this, though my American Standard seems to be this way too, so I guess it's ok.

I don't know when I'll get to install the neck, but I hope it's before next weekend.

The New Phone Book's Here!

I've been twiddling my thumbs waiting for my Sperzel tuners to arrive, and using the intervening time to think about how to install them.  My wife was very amused to find a page in our printer that started "I love my sperzels".  She accused me of having written it, but it was in fact some instructions on how to install Sperzels.

I ended up buying them from "pottbelly2000", a.k.a. Ken Harper,  a very nice guy who gave me some advice on how to install them and shipped them out the next day.  It was also a pretty good deal, unless they turn out to be counterfeits.  The people I've encountered thus far have been uniformly nice - the guy who sold me the guitar, Stephen at CEG Hardtails from whom I bought the neck, and now Ken.  And the people on the boards are also nice and funny.  It's a bit different from the "computer guy" subculture I'm used to in which people can also be nice, but not uniformly so.

Here's a post on strat-talk that has information I'll use to install the neck.  There's also a nice tutorial here.  But first I have to install the tuners.  I was dreading this, but it worked out well.


First I drew two parallel lines using a metal rules, the top one "kissing" (or "osculating" as old-time mathematicians used to say) the tops of the pre-drilled holes, the bottom one kissing the bottoms of the holes. I then used my caliper to draw two dots at the midpoints of the lines, then drew a line joining.  So then I knew that the holes for the guide pins for the tuners had to lie on that line.






Then I used the cardboard template that came with the tuners to place the hole, and ended up with 6 nice neat holes.











And here's the result. Not bad!

Saturday, May 15, 2010

Neck!

My mighty mite neck arrived today, just as promised!  It looks great, but ... in order to install the tuners I have, I have to somehow drill 6 sets of 2 holds to accommodate the pins at the back of the the tuners.  Yikes.  To do this "right", I'd have to buy a jig from stewmac for $36, and I don't want to do that. And to make matters worse, I need a #38 drill bit, which seems to be a weird size.

Also, there are no holes in the back of the next to attach it to the body.  This is getting scary.  I had wanted to avoid anything having to do with woodworking in this project.   And any time I ask about it on one of the guitar forums (fora?), someone invariably says "Don't try this without a drill press".  Rats.  It also seems as though I could really do some damage to the neck if I do it wrong.  OTOH, I really don't want to take it in to a shop and have someone do it for me.

Perhaps the me of the past was fooling the me of  now (if so, curse you, me of the past) into thinking this would be easier than it really will be, in an attempt to get me to go through with the project.  I realized there's a definite sequence I need to follow.  In order to install the neck, I need to put it in place and put strings (or fishing line) in the two E strings in order to get it positioned right.  To do that I obviously need the tuning pegs and bridge in place.

The Bridge Doesn't Fit!


To be precise, it bumps up against the side of the pickguard, which I think was installed a little off.  I removed the pickguard, and filed off some of the bridge part with a Dremel Moto-Tool, then trimmed a bit with an x-acto knife.  This made me freel incredibly cool, and after that the bridge didn't hit the pickguard any more.

Then I noticed that the holes didn't line up quite right, though the spacing was ok.  So I dremeled off a bit of the wood on one side of the hole and now it fits perfectly.  I feel even better about myself now, and the bridge is in.  Huge progress.

Installing the Tuners

I put some painter's tape on the back of the neck near the two "E" tuners.  I was going to press the tuners into the back of the tape to create an imprint for drilling holes. But I was horribly foiled when I found that the tuners I had been saving for 15 years were evidently not from my old strat, because there were 3 left and 3 right tuners!  I am quite sure that I got these back from Sadowsky when they installed Sperzels on my strat, so I guess they gave me the wrong old set?  OK, it's most likely my error, but I can't see how, since I have only one electric that doesn't have 6 inline, and that came with Sperzels.  Hmm, maybe I had tuners replaced on an acoustic once?

So I have to buy some tuners, and as a corollary, I have to wait for them.  I found a guy on ebay selling Sperzel staggered tuners that will fit for a pretty decent price and have emailed him, etc, etc.

Thursday, May 13, 2010

Goodies Arrive in the Mail

I returned home from a trip and found two boxes of goodies, one from Acme Guitar Works, the other from Guitar Fetish.  The latter contained my new trem, which was promised to be a drop-in replacement for the one in my bullet.  This proved to be true, but only because it's a genuine cobocaster which has a thicker body.  However ... the bridge doesn't quite drop in because the pickguard is in the way.  I think it wasn't placed exactly right on the body, so now I have to cut a little bit off the pickguard.  I'll probably be impatient and do this with a dremel rather than file it patiently.

With any luck, my neck will arrive tomorrow and I can start to reassemble this thing.

The package from Acme contained two pots and some nice wire.  The pots are a blender pot and a push/pull pot.  I have some not quite fully baked ideas about how I want to wire it up. I've been reading a lot - articles online, plus a book by T.A. Swike.  The book has many good points, but as the Amazon reviewers point out, is printed in black & white, is short on theory (around 100% short), and needs editing.  Oddly, the book gives a link to a freely available color PDF of the text.  Even more oddly, he's selling it for $14.95 on lulu.com: http://stores.lulu.com/snotboards - yes, that says "snotboards". It seems like T.A. is trying to figure out the best way to to do electronic publishing and is trying many things.  His main thing seems to be skateboards. In any event, it did help me understand quite a bit, so that's good.

Wiring Plans

I don't use the controls on my guitar very much.  I'm always impressed when I see people fiddling with the controls in the middle of a solo, as though they're thinking "ok, this is the part where I need more treble, now to add a bit of volume,...".   I'm not good enough to handle the disruption to playing this causes, and really I just need a volume control I suppose.  However that's not much fun. So as of now, I'm thinking of doing this:

  • Regular volume control
  • First tone control is the single tone control for all pickups.  It uses a push/pull pot which, when "pulled", bypasses both the volume and tone pots, giving a boost.  It might sound terrible of course ... we'll see.
  • Second tone control is a blender pot which impacts which pickups are included in the output; a good description is on the Acme Guitar Works site.  Essentially, when turned to "10" it has no effect.  As it is rotated counterclockwise, it mixes in another pickup, depending on which pickups are selected with the 5-way switch.  There's a thread on strat-talk that might be useful for understanding how it works.
    • Neck and 2nd Position - blends in bridge pickup
    • 3rd Position - no effect
    • 4th and Bridge Position - blends in neck pickup