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sheffield in a shoebox
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Aug 22, 2014 17:59
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jwh posted:I've never had a strat trem stay in tune without providing enough spring tension to lock them flat against the body. I've been experimenting with slightly floating the bridge on my Roadstar with a six-screw trem, and after a few false starts it's actually working really well. There was a sight learning curve for figuring out how not to post my right hand heavily on the bridge or strings and throw things sharp, but once I got that figured out and replaced the actual springs (still only using three) it started behaving really well. I don't do any Beck-style pull-ups; tried the Verheyn setup and it was okay but I didn't like the steep angle it required. With a tiny bit of float though, subtle vibrato just sounds more fluid and (to me) musical. With enough tension to deck the base plate I can't get any gentle sounds, just an aggressive divebomb and snap back to pitch. This way I'm happy to use some vibrato in the middle of a song without worrying that I'll have to quickly correct the tuning right afterward. I do still have to retune slightly after aggressive play especially left-hand bending), but I'm pretty sure not any more than I do when I play a hardtail. I compulsively check anyway, and for the last little while have often been surprised when it's fine. Things I did: • Loosened the inner four screws leaving the outer two tightened normally • Replaced the springs (seemingly the biggest help) • Have a properly cut bone nut with graphite shavings in it • String with minimal windings on the posts • Use NYXLs (not world-changing but I like them) • Electrical tape at ball-ends of strings to prevent breakage (never broke anything before so no change) Things I did not do: • Uneven claw angle • Fancy aftermarket bridge • Lubrication where strings contact saddles • Locking tuners Also, as per the advice of this thread and another one, I cut up some packaging from a set of strings (D'Addario bag) and shoved it into the bridge block ahead of the arm. It works! I assume thread lock tape is better and lasts longer, but in a pinch the string packaging wedges the arm in and prevents it from rattling around. Having done all of the above I do think replacing the whole unit with a Hipshot, Callaham (ugh, their marketing) or nicer Wilkinson (VSVG!) would be better, but for trying to keep the guitar relatively original and do everything utterly on the cheap it worked out well. I think the biggest downside to a floating bridge isn't throwing the guitar out of tune when using it, but the ease with which you can throw things out of tune by playing normally depending on your technique. I use 10s, fret pretty lightly, and don't post my right hand firmly on the bridge or strings. I also don't do a lot of bending with double stops, although I do it occasionally and haven't noticed a problem yet. YMMV, but if your playing technique allows it I think a floating strat bridge—even a relatively cheap one—can work just fine.
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Aug 22, 2014 18:44
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pointlessone posted:Pulled the trigger on a used Tiny Terror on guitar center's site. Classed as "Excellent" (so I'm assuming it was a return) for $89 bucks. Now all I need is a speaker cabinet for it. Any suggestions for something less costly than the 8 inch orange it's normally paired with, or should I just keep an eye on the used listings for one of those? Being on a self imposed budget of under $200 for gear purchases gets rough when you're getting the good stuff. I usually find that the PPC 108 tends to be near the low-end for a cabinet; but I wouldn't advise against it, it's a little box-y but not bad enough to make it sound bad at all. Plus it makes for an excellent decoration in whichever room it's in!  Maybe just wait until you can find a used on on guitar center, or on craigslist.
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Aug 22, 2014 19:09
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pointlessone posted:Pulled the trigger on a used Tiny Terror on guitar center's site. Classed as "Excellent" (so I'm assuming it was a return) for $89 bucks. Now all I need is a speaker cabinet for it. Any suggestions for something less costly than the 8 inch orange it's normally paired with, or should I just keep an eye on the used listings for one of those? Being on a self imposed budget of under $200 for gear purchases gets rough when you're getting the good stuff. If I were you, I'd look into getting one of Jet City's closed-back 1x12 cabs (especially the earlier ones, from when Andy Marshall was still involved). Though I believe Mike deserves the credit, here, because that thing basically IS a Soldano cab, just for a hell of a lot less. The speaker in it matches well with smaller amps, I believe they mainly used Eminence 70W'ers. The ones I really really like are getting harder to find brand new, but here's a few: http://www.amazon.com/Amplification-JCA12S-Guitar-Speaker-Cabinet/dp/B0077IUTU4 I know that bumps right up against the $200 limit, but it's one hell of a cabinet for the money and you don't really need to do poo poo apart from make sure you're using the right impedance output then plug and play.
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Aug 22, 2014 19:29
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Excuse the dirty table, but I wanted to share this assortment of guitar picks I got from my grandfather's stash a few years ago. Some of them are kinda neat, the one all black one The Ventures logo on it, though you probably can't see it here. There is one Klip Pick that has a little clip in the corner to attach to a guitar string. I don't know how he ended up with one that says JESUS CAN FORGIVE SINS, since my grandfather is jewish (Might have to see if he remembers). I was thinking of getting some kind of mounting to frame all these and put it on the wall. 
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Aug 22, 2014 19:40
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Get a used cabinet if possible. I paid $200 used for my 1x12" Orange PPC-112. It's a speaker, a box, a jack, and some wires. Not a lot to go wrong with it used (other than a blown speaker).
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Aug 22, 2014 19:40
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I was finally offered a trade for my Schecter C-8 yesterday. A "1970s japanese/fujigen made epiphone es-510te sunburst hollowbody with upgraded tuners, es-335 bridge, and a dimarzio p-100 in the neck". Can anyone tell me if this is a guitar worth trading for? I don't know hardly anything about it but it looks nice and owning an old fujigen seems better than having a huge 8 string hanging around. Here's a pic of it, http://imgur.com/dsm0fl1
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Aug 22, 2014 19:49
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I would do it based on those dts right there, but I just really like Ibanez and Fujigen stuff.
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Aug 22, 2014 20:02
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In my opinion that'd be a pretty nice trade upward. I love my MIK C-1 Classic with taps and poo poo, stupid gaudy vine inlay and all But the fact is that even quite nice Schecters aren't exactly famous for holding their value so any good offer is neat - and that's a really neat offer, if it's as stated 
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Aug 22, 2014 20:18
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Epiphone Wiki says it is Matsumoku made. Bolt on. And that's not an ES335 bridge. Google says your C8 retails around 1000 bucks. I dunno what those are worth used but I would say the Epiphone is probably worth 3-400 bucks.
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Aug 22, 2014 20:25
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It definitely seems like something I should go far. The C-8 hasn't had any offers over 400 and if I can't move it in tech metal/djent heaven central florida then I doubt I'll get a better offer at this point. I was thinking it was matsumoku made. Not as exciting but it could still be a great guitar. Still weighing my thoughts but I have a feeling I'll bite.
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Aug 22, 2014 20:34
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Zuhzuhzombie!! posted:Epiphone Wiki says it is Matsumoku made. Schecter C-8, used, goes for anywhere between $350 and $550 or so depending on its condition, finish, etc. Edit: PS bolt-on LPs own, says the guy with a Marauder
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Aug 22, 2014 20:34
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ah, well seems like an even trade then. Put your hands on it and see what you think!
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Aug 22, 2014 20:41
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I've handled a few of those. They are Matsumoku (the ones I've seen anyway). By "335 bridge" I assume the seller means the tailpiece which or course doesn't matter at all. The ones I've seen don't have the cleanest build quality, but they are seriously neat guitars. I don't like full-sized 335s but those old Epiphones are cool—kind of anticipating the 339. Especially a good deal with upgraded electronics since I think that tends to be the weak point. Andrew Bird has used one, or something closely related. If the Schecter isn't going to pull much trade value otherwise and you feel you'd actually enjoy a somewhat quirky mini-335 thing I'd say absolutely do it. If the neck isn't warped then any other issue is probably an easy fix. And I think those are of the era when they were doing G&L style grain-flipped laminate necks so I bet it's fine. The few I've seen have narrow necks with a slightly odd profile. Not bad, but unusual. So I'd make sure to play-test thoroughly and make sure you don't hate it. So yeah, objectively cooler than a Schecter 8. Do it.
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Aug 22, 2014 20:56
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JHVH-1 posted:Excuse the dirty table, but I wanted to share this assortment of guitar picks I got from my grandfather's stash a few years ago. Some of them are kinda neat, the one all black one The Ventures logo on it, though you probably can't see it here. There is one Klip Pick that has a little clip in the corner to attach to a guitar string. I don't know how he ended up with one that says JESUS CAN FORGIVE SINS, since my grandfather is jewish (Might have to see if he remembers). You know you want to find out what META CARBONATE does for your tone
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Aug 23, 2014 03:09
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Warcabbit posted:
Oh. My. God. It sounds soooo pretty with the volume backed off a bit, and then dump into the bridge (or even middle) and you're back to rock and roll. I've never had a P90 guitar before, but this was an awesome fit for the neck. 
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Aug 23, 2014 04:50
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I like p90s, but I've never seen a new p90 sound truly like an old one. There's something special about the old ones. It could be that they've lost some magnetism, or something, I don't really know.
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Aug 23, 2014 07:41
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jwh posted:I like p90s, but I've never seen a new p90 sound truly like an old one. There's something special about the old ones. http://bg-pups.com/pure90/pure90/ But every boutique pickup maker says they have the most vintage P90 though!  EDIT:\/\/ Noise gate, bro
Sockington fucked around with this message at 14:04 on Aug 23, 2014 |
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Aug 23, 2014 13:26
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Sockington posted:http://bg-pups.com/pure90/pure90/ At least it's nowhere near as bad as the whole vintage humbucker thing though. Of course I may just be saying that because I don't have a p90 which I rather like the sound of that I can't turn up too loud without having it squeal because the previous owner seems to have decided to unpot it (and I'm kinda nervous about setting my kitchen on fire or melting the thing if I try to do it myself), presumably after reading about the "magical tone enhancements that are totally worth rendering a guitar useless at gigging volumes due to microphonic feedback you guys."
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Aug 23, 2014 13:59
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yeah my HBs are unpotted and unless I use my fuzz at full blast, I don't really have feed back problems. And I play pretttty loud.
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Aug 23, 2014 16:16
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One of the bolts on my bridge won't loosen, it just stripped my allen key (the screwhead looks fine thankfully). Maybe I'll have to take it to a shop after all.
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Aug 23, 2014 16:34
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Can anyone recommend a good guitar theory book? Especially that comes in a kindle edition? Not looking for anything genre specific, just general music theory in the context of guitar.
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Aug 23, 2014 20:26
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I often see Tom Kolb's "Music Theory for Guitarists" being recommended and I believe it has a Kindle edition; http://www.amazon.com/Music-Theory-Guitar-Method-Supplement-ebook/dp/B003JH8WTM/ref=sr_1_1?s=books&ie=UTF8&qid=1408835054&sr=1-1 homewrecker fucked around with this message at 00:06 on Aug 24, 2014 |
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Aug 24, 2014 00:04
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I just got Fretboard Mastery by Troy Stetina. So far it's easy to understand and he's a pretty inspirational guy too. http://www.amazon.com/Hal-Leonard-F...etboard+mastery
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Aug 24, 2014 01:45
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jwh posted:I like p90s, but I've never seen a new p90 sound truly like an old one. There's something special about the old ones. It drives me nuts when you see in the ad copy about vintage pickups sounding as they do by losing their magnetism. A pickup made in the 50's isn't remotely old enough to have lost a significant amount of it's potency, short of being hit really hard with a hammer or exposed to high temperatures. Approaching vintage sounding pickups from an EE standpoint, you're looking at materials, how it was wound, how many windings, that sort of thing. It's also worth taking into account ye olde string materials, so that a set of 'vintage' pickups might not sound particularly vintage because you've got a more modern sort of string on.
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Aug 24, 2014 03:25
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Agrinja posted:It drives me nuts when you see in the ad copy about vintage pickups sounding as they do by losing their magnetism. A pickup made in the 50's isn't remotely old enough to have lost a significant amount of it's potency, short of being hit really hard with a hammer or exposed to high temperatures. Approaching vintage sounding pickups from an EE standpoint, you're looking at materials, how it was wound, how many windings, that sort of thing. It's also worth taking into account ye olde string materials, so that a set of 'vintage' pickups might not sound particularly vintage because you've got a more modern sort of string on. I think a lot of it has to do with imprecision in the metallurgy of the magnets and pole pieces and in the winding process itself. I don't think anyone ever intentionally "scatter-wound" a pickup in the '50s or '60s.
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Aug 24, 2014 05:42
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I am pretty sure electrons moved slower in the 50s, that is why you get superior tone. Gather round and let me tell you stories about my artesian hand wound pickups, the finely aged magnets resonate beautiful tone from the imperfect yet cautiously wound magnets. :bluesdad:
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Aug 24, 2014 08:19
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The only "metallurgical" difference between now and the early 50's was the amount of low background radiation embedding itself in steel. Of course, that only applies to steel made before 1945... maybe extending it until November 1952 when the first H-Bombs were tested since those were over 13 times the yield of every previously detonated bomb. Other than that... total bullshit unless it's this:Agreed posted:I think a lot of it has to do with imprecision in the metallurgy of the magnets and pole pieces and in the winding process itself. I don't think anyone ever intentionally "scatter-wound" a pickup in the '50s or '60s. And even then pickups using low quality Chinese/Indian material would share more in common with "vintage" pickups since those two countries can't produce anything near the metallurgy standards the other steel producing countries can.
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Aug 24, 2014 08:38
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Smash it Smash hit posted:yeah my HBs are unpotted and unless I use my fuzz at full blast, I don't really have feed back problems. And I play pretttty loud. Are they covered? That tends to be a big part of it, if they are then I guess you're just pretty lucky. My rig is pretty low gain, but the neck pickup was pretty useless even at the higher end of bedroom volumes, the bridge isn't as bad, but more annoying because I don't want to replace it. Deciding whether to wait until I can get a nice little temperature controlled wax melter or whatever (as I only have a gas stove and using that for paraffin is probably not a good idea), or to see if someone local can do it for me, as there is at least one place nearby who make pickups (but they would also probably not be cheap if they were even willing to do that - they're not exactly wanting for customers). As for radiation in pickups, nothing brings out those haunting mids like a nuclear holocaust, guys.
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Aug 24, 2014 12:10
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No covers, and no wax. I don't know, maybe I am just lucky. They were custom wound for a custom guitar I built second hand. I have thought about getting covers too but seriously I don't get a particular amount of feedback running a v4 at a level of natural break up which is pretty loud. I dunno maybe I'm just lucky or something, I also only keep the mids at 12 o'clock.
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Aug 25, 2014 01:22
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covers are mostly aesthetic. if it made that big of a difference to sound i probably wouldn't bother with covered pickups.
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Aug 25, 2014 02:00
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Well I think I might pass on the matsu epi but I did get a guy offering me a 2007 Gibson SG 61RI for my 2013 am dlx strat. I wasn't completely sold on the trade at first but it's getting deep in my brain. Those are drat good SGs aren't they?
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Aug 25, 2014 04:47
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muike posted:covers are mostly aesthetic. if it made that big of a difference to sound i probably wouldn't bother with covered pickups. They're also much more microphony prone if they aren't potted, apparently. Which provides a fairly obvious solution to my problem, however this one's on a lovely Greco LP Custom Copy and I don't really feel like removing them (I might replace them though, they're pretty beat up). e: As for a noise gate, the microphonic feedback on this pickup is audible in the background while playing at reasonably loud volumes, without setting it to overkill, a noise gate wouldn't actually help that much, and that's pretty much the only guitar I really need it on - the others are quiet or have an off position in their switching (and even that probably won't be a big issue when I get off my rear end and shield them properly). Nostalgic Pushead fucked around with this message at 12:56 on Aug 25, 2014 |
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Aug 25, 2014 11:36
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Kilometers Davis posted:Well I think I might pass on the matsu epi but I did get a guy offering me a 2007 Gibson SG 61RI for my 2013 am dlx strat. I wasn't completely sold on the trade at first but it's getting deep in my brain. Those are drat good SGs aren't they? I've had one for a long time and love it. It seems like a lot of people don't like the wide flat necks, but it feels good to me. I also installed 500k pots which made a pretty big difference. I guess one thing to be aware of is the resale value isn't as good since the SG standards came out a year or two back with pretty much the same specs other than neck shape. On the other hand, if you play the 61 and like everything about it other than the neck you can start looking for a 2013(?) Standard.
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Aug 25, 2014 12:54
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Well yeah but I tend to assume most covered pickups are potted unless they were done in your mom's basement or something. I like these NYXLs, but I can't put my finger on what it is that I like. e: I would also play the poo poo out of a 61 RI over an american strat but that's just my opinion
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Aug 25, 2014 12:55
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muike posted:Well yeah but I tend to assume most covered pickups are potted unless they were done in your mom's basement or something. That is generally a safe assumption unless some idiot decides to un-pot them for THE TOANZ.
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Aug 25, 2014 13:07
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hey famous guitarist x is known for doing something dumb and gay and his poo poo sounds great, it must be that one factor that did it not that I'm not guilty of doing things like that, but I'm not going to do something that makes my gear worse to try and sound like someone else
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Aug 25, 2014 13:09
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muike posted:I like these NYXLs, but I can't put my finger on what it is that I like. They bend like butter, always sound bright, and last forever.
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Aug 25, 2014 15:43
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I can't get proper intonation (like not even close, flat by almost half a semi-tone) on the 12th fret on my strat. It is the standard MIM bridge and I have unscrewed the saddle on the bridge to almost the point where it looks like it could pop right off if I unscrew it anymore. Does this just mean that I need new strings? Or just heavier ones?
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Aug 25, 2014 16:11
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I have heard people say their pick ups sound more "alive" when not potted but, meh. I don't really notice a huge difference between my potted and unpotted pickups with "sound" or feedback so it's whatever. it seems there is really no hard rules on it and completely depends on each individual pickup.
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Aug 25, 2014 16:17
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