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Gramps posted:Save yourself/other future techs some grief later and use a tiny drop of Elmers to secure your nuts. The strings hold em in place 99.999 percent of the time, the glue is just to keep the nut from flopping off if you take all the strings off. No need for super strong glue. lol answered my question for me. It's so surprising to me just how many hobby and craft recipes/fixes use elmer's glue.
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Jul 18, 2022 21:19
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| # ? May 24, 2024 15:53 |
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I'm happy I sprung $100 for a set of stewmac files (in 10). It's let me really dial in and experiment on a couple of mine, and the times I've messed it up it's just $10 to try again (or a veneer shim, or a filler). It's good and fun to learn to do stuff so long as your brain will allow you to be happy with work you've done yourself.
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Jul 18, 2022 21:21
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Spanish Manlove posted:lol answered my question for me. Also, PVA is stronger than the wood in most cases. So the wood breaks before the glue.
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Jul 18, 2022 21:22
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i would try it myself actually because it seems pretty simple (and i’d get a pre-cut one) but on this telecaster it’s very very glued in, from the factory. probably going to require some heat and not just careful force.
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Jul 18, 2022 21:28
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I agree with Gramps - the nut barely needs held on if installed correctly. I had a guitar with an unglued nut for a while, never gave me trouble when strung and I change strings one at a time unless I'm oiling the fretboard so it was rarely disturbed. On my noise issue, rebuilding my board is going well so far, getting some stuff moved to better spots in my chain and making sure the squealing is absent as I go. Building within the NS-2 loop and checking it bypassed and activated along the way. My god drat Morley switchless wah has a thump when it engages - I thought the switchless optical circuitry and buffer were supposed to prevent that but NO. However it is pretty low signal level, only noticeable when amplified by high gain really, so now it's in the NS-2 loop first to keep it from bothering me.
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Jul 18, 2022 21:29
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Agreed posted:I wouldn't use superglue for that, might damage the wood next time it needs to be removed and nuts don't last forever. that's why you only use two little drops.
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Jul 18, 2022 21:31
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Huxley posted:I'm happy I sprung $100 for a set of stewmac files (in 10). It's let me really dial in and experiment on a couple of mine, and the times I've messed it up it's just $10 to try again (or a veneer shim, or a filler). It's good and fun to learn to do stuff so long as your brain will allow you to be happy with work you've done yourself. i could eventually be happy with work done myself i think, i mean, i’ve gotten there with music after long enough, it’s more that i don’t really have anyone to actually teach me the stuff, or answer questions, or provide the experience/wisdom that makes everything go smoother from the beginning. i will eventually try soldering again but i’m going to do the smart thing and get a soldering iron where i can actually control the temperature, so i don’t cook parts before i figure out how to melt the solder. and it’s all kinda low priority for me compared to “write great music”, “practice singing, “practice piano”, and “move out” and “transition further” so like the wiring just kind of has to take a back seat for now
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Jul 18, 2022 21:32
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Lumpy posted:that's why you only use two little drops. Better to use something else water soluble and still also use very little. Superglue isn't a good choice there.
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Jul 18, 2022 21:33
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Super glue is good for when you knock out a strip of the headstock trying to get the previously super glued nut out though And for when you file the new nut down too much and need to refill the slot a bit
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Jul 18, 2022 21:45
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superglue on nuts can take chunks of wood with it when you knock the nut loose to reshape or replace it, elmers pops off clean. Ask me if I learned the hard way (on a customer's guitar no less).
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Jul 18, 2022 21:51
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I only ever put white glue on my nuts, personally
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Jul 19, 2022 00:12
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Some of them are set up for a smaller radius and you need to file the bottom a bit to make it fit your neck, fyimuike posted:I only ever put white glue on my nuts, personally Just use wax next time, friend
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Jul 19, 2022 00:27
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Agreed posted:Better to use something else water soluble and still also use very little. Superglue isn't a good choice there. Guess that Dan Erlewine must not know what he's doing then.
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Jul 19, 2022 02:00
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Lumpy posted:Guess that Dan Erlewine must not know what he's doing then. That's why he's no longer our huckleberry.
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Jul 19, 2022 02:24
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Lumpy posted:Guess that Dan Erlewine must not know what he's doing then. They use titebond here... https://www.youtube.com/watch?v=Pi7LtmdOrFw
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Jul 19, 2022 02:29
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Lumpy posted:Guess that Dan Erlewine must not know what he's doing then. Do whatever you want to your guitars, man. I think it's a swell idea not to damage the wood under the nut for no reason. Maybe that doesn't happen with a really super small amount, but I'm not personally going to be finding out. Agreed fucked around with this message at 04:19 on Jul 19, 2022 |
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Jul 19, 2022 03:25
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He doesn't recommend super glue for wood. Usually he will use titebond or something like hide glue or fish glue as adhesives.
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Jul 19, 2022 04:14
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After watching that video it seems pretty clear to me that Dan is a smart fella, and I'm taking a break from rebuilding my pedal board to get rid of noise and had a minute. Turns out Google Books has his 1994 guitar repair guide "Guitar Player Repair Guide." Here's what he wrote there, page 224:quote:"If the final fitting meets your approval, glue the nut into place using a couple light dabs of hide glue or white glue. I don't use super glue here, because its instant setting time won't allow you to move the nut from side to side when lining it up." Lumpy, does that clear the air? Are we cool on the topic of nut glues now? Use what you prefer, in the end, if you've had good luck with superglue that's cool man but I'm gonna keep not using it personally.
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Jul 19, 2022 04:16
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guess i'll be the one to jump on the grenade here... ugh, i hate this. my nut glue started coming out clear around week 2. significantly weaker, huge relief.
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Jul 19, 2022 04:18
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You should read that book cover to cover imo. Actually everyone should. There's a bunch of really useful little tricks and tips.
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Jul 19, 2022 04:20
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Jul 19, 2022 06:14
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^^^^ check it out, it's a bass cock Rebuild killed the squeals! Nice and quiet in my pedals prior to the amp. I was able to rearrange them to get things to flow better as far as stacking goes, way cleaner as far as routing cables and power now. I was able to simplify the power situation and reduce the number of power supplies in use while fixing the noise! 
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Jul 19, 2022 06:14
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Agreed posted:After watching that video it seems pretty clear to me that Dan is a smart fella, and I'm taking a break from rebuilding my pedal board to get rid of noise and had a minute. Turns out Google Books has his 1994 guitar repair guide "Guitar Player Repair Guide." Here's what he wrote there, page 224: Yeah, use whatever you want. Note that he doesn't mention damaging the wood as the reason not to use it though, but the longer working time is definitely a point in favor of using Elmer's / titebond, etc. But from now on I solemnly swear to never recommend two tiny drops of superglue to anyone else.
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Jul 19, 2022 14:06
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That's all I could ever ask, thank you Lumpy, thank you
Agreed fucked around with this message at 14:50 on Jul 19, 2022 |
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Jul 19, 2022 14:47
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So, I've recently moved on to improvising to backing tracks to put the scales I've practiced to use, and it sounds cool and musical, but there's an element of "random bullshit go!" to it. How do I move towards a bit more intentionality when improvising over just loving around in that key?
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Jul 19, 2022 15:00
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Follow the chord progression modally? Instead of just sitting in a box like a rowdy hockey player you'll hop around the board more.
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Jul 19, 2022 15:14
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Spanish Manlove posted:Follow the chord progression modally? Instead of just sitting in a box like a rowdy hockey player you'll hop around the board more. Sorry if I sound dumb (or should take this to the theory thread), you mean if the progression was say Dm, F, Am, I'd play notes from each of those scales rather than just D minor? Or I should think about what notes spell those chords within D minor and base any riffing off of that?
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Jul 19, 2022 15:27
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Disco Pope posted:Sorry if I sound dumb (or should take this to the theory thread), you mean if the progression was say Dm, F, Am, I'd play notes from each of those scales rather than just D minor? Pretty much, just a little more involved. So you'd play the relative mode of each chord, so Dm is your root mode which you'll play D aeolian, then F you can play F major (Ionian) and Am you can play A Phrygian. Literally it's as if you took Dm and filled out every note on the board that's in Dm, and just solo'd in d minor the whole time, but actually you're accenting the root of the chord. It's a fun technique to teach the whole board and get out of the boxes.
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Jul 19, 2022 15:35
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Spanish Manlove posted:Pretty much, just a little more involved. Awesome! I'm not quite there yet, but a dim light bulb flickered for me. The anxiety about settling into blues dad riffing is real. Thanks!
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Jul 19, 2022 15:41
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https://guitar.com/news/gear-news/uk-retailers-told-200-stolen-prs-guitars/quote:UK retailers told to be on the lookout for more than 200 stolen PRS guitars
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Jul 19, 2022 15:55
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Disco Pope posted:So, I've recently moved on to improvising to backing tracks to put the scales I've practiced to use, and it sounds cool and musical, but there's an element of "random bullshit go!" to it. How do I move towards a bit more intentionality when improvising over just loving around in that key? I'm also very much at this stage, but aside from the very good advice about following the chords, the thing that has made my noodling sound more like real music is repetition. Just playing the same thing twice or more, either just right after each other or with some other stuff between. You can even do variations on your little motif. It makes it sound a lot more planned and cool and less like you're just playing more or less random notes in a scale (which we are). I even had some luck combining it with chord changes, take your motif and play the same scale degrees in the relative scale. For example, in A minor, I'll play something like "A C E F" over am, but when it goes to dm, I'll play "D F A B", which is kind of the same, but because of the mode change, the minor six becomes a major six.
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Jul 19, 2022 15:58
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BonHair posted:I'm also very much at this stage, but aside from the very good advice about following the chords, the thing that has made my noodling sound more like real music is repetition. Just playing the same thing twice or more, either just right after each other or with some other stuff between. You can even do variations on your little motif. It makes it sound a lot more planned and cool and less like you're just playing more or less random notes in a scale (which we are). Cool! This is quite exciting. I've gone from "Man, I'll never master this instrument" to "Wow! I'll never master this instrument!"
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Jul 19, 2022 16:03
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Agreed posted:That's all I could ever ask, thank you Lumpy, thank you  
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Jul 19, 2022 16:25
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Disco Pope posted:So, I've recently moved on to improvising to backing tracks to put the scales I've practiced to use, and it sounds cool and musical, but there's an element of "random bullshit go!" to it. How do I move towards a bit more intentionality when improvising over just loving around in that key? some thoughts:
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Jul 19, 2022 16:46
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a.p. dent posted:some thoughts: - singing a line out to get at least a small idea that sounds good, even if it's surrounded by more noodley stuff - emphasizing the chord tones to really clarify that you're following the harmony. This can also mean stepping outside the pentatonic, even just for a note or two, which keeps it sounding more interesting - avoid starting on the 1 - you definitely don't always have to do this, but starting phrases on other beats can really liven things up - repetition! If you land on something that sounds cool, keep using it. I always think of the Purple Rain solo (9:55 in this video if it doesn't embed right) where it almost seems like he realizes in real time how cool this little lick is and just keeps driving it home. If you go back around 30 seconds in the video, you hear parts of it start to appear, then it all comes together and works perfectly. https://www.youtube.com/watch?v=frbVVDAyJ1w&t=595s
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Jul 19, 2022 18:01
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The Leck posted:This is some great advice! Things that have helped me the most have been: All this talk is getting me super hyped. My guitar teacher is really into using funk like rhythms for general rhythm development and in one of our first lessons was like "don't worry, I won't teach you to play like Prince" and I was like "binch, what ?!" so I hopefully (and perhaps passive aggressively) wore a Prince shirt to my next lesson
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Jul 19, 2022 18:07
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for vocal melodies at least, it helps me to have a phrase i'm thinking of, like a song hook idea or something, and then based on poetic foot, or how the phrase is said, using that to kind of write the basic form of the melody. we have strong/weak notes in both rhythms and poetic foot, and we have consonant and dissonant notes with each chord. so lining those things up with each other tends to help, and often, you'll end up with interesting stuff that way. like, let's use something really basic, that i would never in my life be able to live down the embarrassment of writing as an emo hook-- the phrase "i can't even try". the way i would say that to express the mood i'm in, i would breeze past the "i can't", i'd emphasize the "E" and to a lesser extent the "ven", and i'd hang on the "try", not with strength but with duration, to indicate that something's coming after it. so i already know that if i'm writing in 4/4, i might want to start on the 4th beat, with two eighth notes that i'll sing "i can't" to, so i can hit the 1st beat with a consonant quarter note to emphasize the "E", move by step to a dissonant note in the harmony on the 2, so you're aching for something on the "ven", and then on the 3, the "stronger but not strongest" beat in 4/4, i know that would be a good place for "try", because a) it's the only place it can go, but b) that third beat is a good place to kind of pause. it doesn't feel finished, but it feels like more of a stopping point that if you tried to resolve on the 2 or the 4. but since it's not exactly the strongest beat either, i have some options -- i could write eighth notes there, maybe even into the 4th beat, and make it a melismatic lyric. or i could just keep it as a quarter. and i could probably get away with a more dissonant note there, to preserve motion. and that doesn't really get too into harmony, but... i already have my note placement and duration, and that's a lot of it. you can totally woodshed harmony, just trying different intervals and using your ears, but even then, there're basic guidelines that help. as a general rule, what i've found is that the easiest way to write music is to first learn what decisions your core ideas have already made for you. each decision you make reduces the number of possible other things you can add, because the new things have to work well with an increasing amount of set in stone ideas. landgrabber fucked around with this message at 18:43 on Jul 19, 2022 |
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Jul 19, 2022 18:39
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anyway last night i tried re-stringing the peach strat and broke my high E before i got it in tune. have another pack here so i'm gonna give it another go, but god, i do not like the "modern" fender tuner design atall (pretend i said that like a british person where you say "at all" quickly but with more emphasis on "all")
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Jul 19, 2022 18:41
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oh my god i hosed up this pack too, i am such a dumbass thought the A string was a low E string
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Jul 19, 2022 19:28
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cool
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Jul 19, 2022 19:47
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