The last one pictured looks like a replica of Keith Richards', based on the orientation of the neck pickup.
The last one pictured looks like a replica of Keith Richards', based on the orientation of the neck pickup.
But you're spot on about the reissues/replicas. Especially Fender's. I've had a chance to play quite a few of the real deal and the new ones don't feel much like the old ones, with the exception of the custom shop jobs. You just can't get a computer to give it the same feel.
And I've always suspected the "real" vintage rigs played on the road by the famosos weren't. Everything gives out eventually, especially under that kind of repeated use.
No idea who owns those guitars pictured. The whole ghost builder/artist replica thing is ridiculously secretive since you essentially have Fender/Gibson endorsed artists, even some with their own signature guitar, that get guys like Pete Anderson or John Bolin to build an exact copy of their signature or vintage guitar but with higher quality wood and construction techniques.
It's the same thing with pedals. I came across a guy recently who is a big time signature artist for TC Electronic. His pedalboard was filled with every TC pedal you could buy. During sound check he was using a TC pedal that I have as well but getting a much better sound out of his than I ever have with mine so I asked him about it when they finished up. He started laughing and said that he doesn't use any TC pedals but due to his endorsement agreement he has to have his his tech put the guts from his favorite pedals into the TC enclosures.
I understand why that stuff happens a lot, but $#@! if you're gonna have any type of signature gear that kids are going to buy or whatever, it's a little chicken $#@! to not use the same thing if you ask me.
If any of you are interested I have this 1959 Fender Super Amp for sale - $3500 and it's yours.
In the last 5 years or so, I wonder how many guys who paid $20,000 for what they think is a Pre-CBS Fender actually have a fake made in the last few years.
I think old guitars are cool, they are obvious and tell a story. A relic can't do that. I have a violin that was my grandfathers. When he went to the merchant marine in WWII he left it in a barn because my grandmother had to move back into her parents house while he was gone. A field mouse built a nest and chewed open the f hole. The violin still sounds great and it has a war story. No relic can do that. I get the replicas, that is sort of a shout out to a gutar hero, but I don't like the fake road rash.
This mint '58 that has been on eBay for a few months haunts my dreams. I love the 3 color sunburst/maple fingerboard combo that was only around in '58 and early '59 and those grain lines around the headstock are pretty wild. Pretty cool to see a close representation of what it looked like hanging in the store back in the 50's. It's all yours for 58k.
Wow... that is $#@!ing cherry. I guess the sunburst on a '59 strat won't fade like on a '59 les paul?
The thing about this one that strikes me as odd is the pick guard. I know they went multi-ply in late '58/early '59. But most of the pick guards you see from this era are in rough shape - not from playing but because the plastics used at the time didn't hold up well. But I've heard that was true for 54-55s, and by around 56 they had the blend right.
Either way, it's a fine looking guitar.
Anyone ever built a warmoth guitar? I'm thinking if doing it. Well, buying the parts and having a pro put it together that is.
The white Strat I've posted on this thread is a Warmoth body & neck, with Guitar Fetish pickups. I think I got the tremolo, tuners, etc. from Warmoth, but I'm not sure. I'll check my notes. It is an absolutely beautiful chunk of wood. Can't recommend Warmoth enough.
I'm about to build another one, but this time I'm using all premium parts (meaning different pickups). Any recs on a great Strat pickup?
If you're in Austin, I've got all the tools that you'd need and would be happy to let you borrow them. The actual process of screwing everything together and stringing it up is simple. It's all the playing style specific little tricks and adjustments that come afterward that can turn a so-so partscaster into a helluva guitar.
JJ - All the boutique winders make good pickups so it's hard to go wrong there. If you're wanting something cheaper, my favorite Fender single coils are the Custom Shop 69's. I despise overwound or hot pickups and the CS69's are low output and extremely clear.
Also, keep in mind that the 69's don't have the hum canceling RW/RP middle p'up like most sets come with these days. That could either be good or bad depending on what you prefer. I personally prefer non-RW/RP middle p'up's because I think they make the 2 & 4 positions sound better but you're splitting hairs at that point.
As far as wiring, I'd recommend checking out the master volume, master tone, blend wiring schematic. It gives you the option to have the neck+bridge and all 3 pickups at once. The neck+bridge is a cool way to get some BB or Albert King sounds out of a Strat.
Here's a pickguard I did a few weeks ago to replace the stock electronics of a Mexican Strat I found for next to nothing at a pawn shop in Nashville. It's got the blend pot in the last tone position.
Putting that guitar together was probably one of the top ten most fun times I've had noodling with guitars. Can't recommend it enough.
You're spot on about the pickguard history. The Single-Ply guards from '54-'59 were made from ABS Vinyl. With little exposure to light or playing abuse, they'll hold their shape and color pretty well. The 3-Ply guards were made from Nitrate Celluloid which shrinks over time regardless of whether the guitar's being played everyday or sitting under a bed. It's rare to see an original celluloid pickguard on a strat that hasn't cracked where the neck pickup height adjustment screw sits so close to the edge of the guard.
The Strat knobs and pickup covers from '54-'55 that you aways see in such bad shape were made from a cheap form of plastic that had just been developed at the time. It's usually referred to as Bakelite but that's not what it was. Once Leo's cheap ass realized that all of his pickup covers were flaking off and falling apart, he begrudgingly switched to using the same vinyl that the pickguard's were made out.
Here's some pics of the Strat that Fender sent Buddy Holly a couple of weeks before his Bonanza nosed in. Similar condition to the one for sale on eBay and it's a '58 as well. The way the plastics have aged looks to be about the same.
Necks from the guitar on eBay and Holly's. Pretty cool that they're the same month.
Posted elsewhere, but this is my nearly 15 year old EF takamine I bought in high school, fresh back from the shop. The first guitar I owned that wasn't a piece of $#@!.
This is my future rock star
wwshornfan, my Guitar Fetish pickups are wound hot, just like you hate 'em! Come over and play it some time -- I'd love to get your thoughts. I want to spec out my fiesta red Warmoth with a maple neck, so any advice you might have on getting the truest parts would be appreciated. Cost is not really an issue, within reason. $1K or so.
Guitar Fetis '64 Texas Staggers
Also, if you wire up the pickups with the "blend" scheme, can you no longer get all 5 standard pickup configurations (N, N+M, M, M+B, B)? I want my next Strat to be as true to form as possible.
On my Jazzocaster, I have the standard strat pick up controls, except with an on off switch in the second tone pot (push/pull) for the bridge pickup. So if I have N+M, and the bridge pickup "on", I have all three. Also, with the 5-way set to N, and the bridge set to "on", I can get N+B, which is a combination you don't normally get. Pretty cool sounds.
On the majority of non-RWRP sets, all 3 pickups are usually the same and don't come labeled for a specific position. The only time that isn't the case is for sets that have dedicated overwound bridge pickup.
With the blend wiring, you'll still be able to get the stock sounds just like they'd normally sound. I should of explained it better. Basically you have a master volume for all 3 pickups like normal and a master tone control that is also wired to all 3 pickups being controlled by your typical 5-way. All the blend pot does is blend the bridge pickup into whatever pickup selection you've got set on the 5-way.
When the blend pot is on 10 and the 5-way on the neck pickup, it's just your standard neck pickup sound like always. As you turn the blend knob towards 1, the bridge pickup is slowly mixed with the neck. With the blend pot on 1 and the 5-way in the neck position, you'll have a 50/50 split between the neck and bridge . In the 2 and 4 position, same rules apply giving you Neck+Middle+Bridge when the blend pot's on 1. In positions 1 and 2, the blend pot does the same thing but blends the neck pickup instead of the bridge
$#@! that's probably even more confusing.
My hate towards overwound singles is purely due to bad habits in my playing style that came from first starting out on the guitar with the goal of learning every lick Stevie Ray ever played. After about 8 years and thousands upon thousands of hours spent rocking a wah to Voodoo Child, I finally started to get into actually becoming a more well-rounded 'musician' and not just someone who plays notes on the guitar but I've never been able to shake the ridiculous right hand attack/technique I had spent so much time trying to figure out (SRV's tone, despite what you read on 95% of forums, magazines etc. lives in the right hand).
As a result, when I play overwound pickups everything just compresses and turns to mud and hammers the $#@! out of the front end of the amp. The only way I can control dynamics to have ~5.5k pickups set close to flush with the pickguard. I've spent a $#@! load of time trying to undo that habit but it ain't happening anytime soon unfortunately.
OK, who can help me out here? I just bought an Ibanez bass in a pawn shop for $110. Great shape, 4-string, made in Japan, 2000 model Soundgear, black. But I can't figure out exactly what series it is to determine the value. It has a battery under the back cover, but doesn't have the floppy, fragile circuit board that my Korean SDGR bass had. I don't really want to take the neck off to find out, but I probably will eventually so I'll know what I've got.
I didn't really need it, but it seemed like too good of a buy to pass up. Anybody need a bass?
No idea what kind or bass you've got, but I wouldn't worry about anything getting messed up by taking the neck off. If it's cuz you just don't want to deal with the hassle then there's no way around that unfortunately.
One thing to keep in mind with any bolt on neck guitar is once you get it strung up to pitch, unscrew the 4 or 5 screws holding the neck in place about a 1/2 turn each and wiggle the headstock back and forth a few times (you might hear a few cracks and pops but that's what you want) before retightening. This'll let the tension of the strings pull the neck into the pocket and provide a much better connection between the neck and body, improving sustain and resonance.
Here's another Nub Grafix paint job on Scott Ian's guitar, a tribute to Dio and Dime.
I want that.
On a related note, I took the bill Lawrence's out of the les Paul and replaced them with a SD custom in the bridge and a alnico pro in the neck. They sound fantastic. A buddy had borrowed it to record some heaviosity. Had it all set up for heavy strings, drop tuning, the whole thing. I had it re set up for low action with 9s. With the new pickups I have refallen in love.
This is probably more guitar can you help me with this, but still, here it goes:
So I'm playing the hell outta my new (to me) R6 LP. It has the original style abr-1 bridge, which has a wire on it to keep the adjustment screws for the string saddles in place. That wire vibrates like a son of a bitch. I've seen some replacement versions out on the interwebz, which don't have the buzzy wire. Any of you guys used one before?
I'm lookin at you Wwshorn.
BTW - I have poked around on the Les Paul forums, but haven't seen much about this. Trust you $#@!s more anyhow.
Now that I've got a second, I wanted to point out that the saddles on that bridge come pre-notched which saves you from either paying someone to do it or doing it yourself. The only issue you could run into would be if the old bridge saddles and nut were hand notched/cut for your actual guitar. If that was the case, then there's a chance the new pre-notched saddles might throw off the spacing that you're used to but it could also be exactly the same. Won't know until it's strung up. If the alignment is jacked up with a new bridge, I can walk you through the fix though.
I know that Gibson Nashville has been running every guitar through the PLEK for the past few years so I think the nut and bridge should be fairly similar from guitar to guitar and it'll end up being a non-issue.
Also, if you're using really unbalanced gauges of strings or anything above a .054 on the low E/.012 high E, you're going to want to do a few things to the bridge and tailpiece to optimize tuning stability.
You want to make sure that the screws pass freely through the body and don't hang up on anything except the neck. Lots of new guitars these days come with the body holes threaded as well but to achieve the best possible joint, the screws need to pull the neck and body together as tight as possible. If they're threaded through the body, you end up pullling the body and the neck in the same direction when tightening.
I run a 3/16" drill bit through each of the holes in the body (standard S-type bodies) to make sure the screw won't catch on anything but if you don't want to drill, you can get a hammer and drive a neck screw through each hole (both directions) as well to clear them out.
They thread the neck AND the body? They aren't through-holes in the body? That makes no sense.
On top of that, it looks like like one of necks has a twist in it as well. I'm going to give it a few days to get used to not being in the Corona, CA climate and to adjust to the string gauges I use, but I'm pretty sure it's a junk neck. Luckily the last thing I need is another damn Strat so I'm not left totally screwed if I have to wait to get another neck made. What pisses me off is if some guy who gigs a little but primarily plays at home sells a bunch of gear to have his dream Fender built only to have it show up with a twisted neck and the body holes not drilled out. That's unacceptable and has to be heartbreaking for the guy who now has to send it back considering the wait times associated with ordering a one-off from Fender.
I just don't understand the thinking behind a bolted joint with both parts threaded. You want the bolts to pull the parts together. I would use through-holes in the body, inserts in the neck, and lock washers under the bolt heads.
After seeing The Cadillac Black the other night, I really have a hankerin' to make me a lap steel. All I need is a good piece of wood. I've already got some pickups and a little leftover hardware, and can get the rest in town.
About six years a fella I've been playing guitar with since about sixth grade rolls up to my house with a funny looking little tweed case. It has a bunch of dirt on it, and clearly has sat in some water at some point in it's history. I open it up and there sits about a 1951 vintage Fender Champion lap steel with the mother of toilet seat finish. The tuning pegs are mostly cracked and broken off. Someone has used tape to mark the frets (why I don't know, I thought that was what fret markers were for) and the finish towards the bridge end is pretty messed up, probably from the water. But despite these failings, I can tell the bones are still good (plus these things had the same pickups and wiring that went into the Esquire/Broadcaster of the early days) and everything else is intact. I traded him some old Rega Planar 2 turntable bits for it, and tossed it in the closet as a "one of these days project"
Flash forward to this year. I finally get enough scratch and will together to get it worked on. Dropped it off back in January with a fella who restores guitars when he's not working as a police officer. Turns out some hooligan kicks him in the face while on duty, and he gets stuck in the hospital for a while, rehab etc. So it's taken until yesterday for my guitar to get knocked out. New functioning tuning pegs (kept the old ones of course), all electronics cleaned up and working, tape residue cleaned off fret board/finish, and messed up finish replaced as possible (this entails a whole other csb, due to the unique nature of the mother of toilet seat finish). It is now a clean machine ready for duty.
Will post pics one I get them.
Last edited by Chad Fuck; 08-06-2012 at 11:27 AM.
For what it's worth, the guy who worked on my Warmoth strat over at Musical Exchange said it was as good as almost every Custom Shop guitar he has played, and better than most. It cost me $900 to put it together, including setup.
I just bought this brand new cheapass lap steel on ebay for $59.99, identical to the Rogue version they sell at Musiciansfriend for a hundred, and rebadged under several different brands elsewhere. That will hold me over until I get around to building a cool one.
Funny thing is they sell a kit to build your own, this exact same model that sells for $20 more. I'll probably be able to sell it for more than I paid for it. There are 5 left with Buy It Now if anybody wants one.
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