GregP

I use 3 fingers. index, ring, little finger. The index finger and ring finger are so locked together that there's no sloppiness possible, and I find I have actually more more solid control. When I use either just the ring or little finger to cover 2 strings, the finger itself wants to ... 'bend' (not in the direction of the knuckles like bending your fingers, but side-to side) a bit, which makes it trickier to lock down. I don't really think one is better than the other, but I DO know that for me at least, using 3 fingers (and even downward pressure using fingertips instead of other parts of the finger) makes it much easier to get up to speed. There are obvious exceptions, and I think some of it DOES come down to musical style. Greg

I like the original. OT-- Guitarfrenzy, that's the coolest looking flame I've ever seen in my life. Subtle yet not so much that you have to strain to see what's going on. Wunderbar! Greg

If it's just the P90 part that you don't like anymore (ie. you're not dead set against pickups in general there) you can get a humbucker in a P90 housing. Would a humbucker suit your needs better? If you're going to put something in there, it might as well be usable! Greg

A Peterson strobe tuner with Buzz Feitin presets is recommended for getting full use out of the BF system. As long as your tuner can give you a digital readout of the current dominant frequency, though, you can follow his formula "manually". Greg

I don't have any advice for filling it in, but if you decide to make a custom pickguard, the materials seem pretty easy to work with. Admittedly, my only experience is with re-shaping a 3-ply Les Paul pickguard, but I was surprised at how forgiving and easy to work with the material was. Make a template of some sort (MDF would work) and then cut it using a 45 degree router bit. (I think they're called chamfer bits? I could be wrong about that one) and you'd be sorted. It's an option, at least. Nothing to be TOO scared of in terms of tools required. Greg

The only reason my posts get mucky is because people seem to want to read too much into what's being said. I think the clearest one was mledbetter's <chuckle> Moving on... Not only is a zero fret cheaper, but it's easier to get right than a crappy and poorly slotted plastic nut. Greg

Walk, Don't Run to the pawn shop to see if they have one.

It's also all about musical context, though. There's a place for Shreddy McWailerson solos, too, and it's false that you can't play speedily AND with feeling. I dig what you're saying about the blues, and I'm an enormous B.B. and Buddy Guy fan; however, I suspect that Godin and his buddies vibe to the speedy licks from time to time, too. Greg

Seems like the right place to ask. Disclaimer: I've never done this, and I'm no expert. But, just speaking from plain ol' thought-processing-- Gluing it up, if you can get a perfect pair of surfaces, should be fine... where it gets tricky is if the neck and the pocket aren't as perfectly matched as one would hope. I imagine the amount of surface you're dealing with is still more than they used in many of the Les Paul Jrs and SG's. As for shaping the heel, why not? I believe there's a tutorial in the main site on creating an all-access-joint from a regular joint on an Ibanez. As long as there's enough structural wood left over (ie. you haven't brought it too thin or too close to the screws), adding some curves shouldn't affect it too much. Greg

Cheers for the heads-up on the book. What's the strat look like? What makes it so hot compared to other strats?

Kevan, I love reading these updates and anecdotes. I'll be sad for this thread to end, but happy for the tremol-no to arrive. Greg

Personally, I always liked Eddies Steinberger and Converse shoes more than the 5150. OK, that's a lie. I love the 5150. But the Steinie IS pretty cool. Greg

Welcome to the forum, Mr. Gleneicki. Greg

Well, if it's any comfort: 1. blanks are cheap (at least compared to the overall project) so you can usually afford to screw a few up 2. even after making your own, and it doesn't sound or feel right, they can be removed with varying degrees of difficulty, but I can't imagine a situation in which it'd be "impossible" to remove it 3. At the end of the day, even though I myself would be hesitant to do it, for someone with a bit of skill and confidence, it still doesn't seem to be rocket science, and there are good tutorials out there to help you through it. So, I guess what I'm saying is that nothing ventured, nothing gained. Greg

I haven't missed the point... I also never said that the raison d'etre of a zero fret was to fix intonation. If anything, I'd be the first person to say that they're mostly used to make a difficult job easy. It's just that... Well... The title of this THREAD was about zero frets vs. compensated, and so I'm discussing zero frets with regard to intonation issues. When I was reasearching my current build, the local luthier I talked to is the one who helped me choose zero fret. He's a certified Buzz Feitin installation guy, which is how I got a hold of him in the first place. I called him up, basically so that I could find out what I'd need to do with my build in order to get a Buzz Feitin nut put on my guitar. After a lot of discussion, he said, "Or, you could use a zero fret." Was he saying that it was superior or the same? No. Have I said that it's superior or the same? No. My words have just been misunderstood. <sigh> It's a bit disappointing to see the obvious lack of communication going on here, and to be honest, it's hardly worth it. I could have just kept my mouth shut and let all the experts do their expert things without interjecting an intelligently formed and expressed opinion. Would have made it a lot easier. Greg

I don't know what the "first" question that should be asked would be, but an important one somewhere along the way would be: do you have the tools for the job and/or the willingness to buy/make and learn the tools? Greg

Use a zero fret. Sorry... just a joke with regards to another thread.

It means: a) "in some cases" So, for example, somebody with a light touch b ) "it can accomplish" A successful result can be reached c) "the same goal as a compensated nut" Both are aimed at doing the same thing, which is to minimize intonation problems d) "which is to reduce the impact of fretting a note on a string's pitch" See above. It's pretty clear English. I didn't say they have exactly the same success rate, and nor did I say they were directly compatible. They DO share a common goal, and the degree to which they're successful will depend on different things. If your contention is that a compensated nut FIXES the problem, then I would have to disagree. Maybe yours do, for your guitar, in your shop, but for somebody buying an Earvana, mileage may vary. And an Earvana IS a compensated nut, a respected one, and a heavily sold one. But if you can tell me that its compensation will be consistent for every single guitar out there (obviously, other factors such as a plain old shitty guitar that will NEVER be in tune aside) then I'd have to concede the point. But I think you'll find that from guitar to guitar, player to player, and string guage to string guage, that a compensated nut ALSO only words to "reduce" the impact of fretting a string. Both systems can ONLY reduce, not completely "fix" the problem. That's the nature of a guitar. If you say that a compensated nut is BETTER for the job, I haven't disagreed. As far back as page 3, I've consistently agreed with this point, and THAT's why I say we're not in disagreement. As for the getting riled up: only a poorly-tempered person would get riled up over the nut argument, that's for sure. Which is why I think your choice of when and where to capitalize and when and where to use triple question marks could have been better thought out. I'm certain I'm not the only person who would interpret that post as adversarial. Greg

I wonder if Jon would be able to custom-make a pair for a bit extra $? Not that I'm in the market, but we DO have access to somebody who winds and sells pickups. Greg

<shrug> I still don't see where we're disagreeing. <sigh> It's like you're LOOKING for a fight or something. And yes, you WERE getting riled up. It's as clear as the bold letters, triple question marks, and adversarial 'tone' with the "have you ever cut a compensated nut", which was thrown in my face after I've already clearly demonstrated not only elsewhere on the forum but in this very thread that I'm even less than an amateur. I don't need to eat a *** sandwich to know that it's going to taste bad, and I don't need to have cut a nut in order to understand why a compensated nut is the best solution (which I agreed with as far back as page 3 of this thread, VERY explicitly). I haven't missed your point at all, Perry, but I think you may have done. And Devon-- I appreciate your diplomacy, but it doesn't take ANY deep reading to see that I've said a zero fret accomplishes the same goal as a properly cut normal nut. That EXACT statement can be found earlier in the thread, along with my contention that a compensated nut is the best solution. I haven't touted zero fret as the be-all and end-all at all, but I WILL continue defending it as a viable option, because it IS a viable option. People have used it successfully, will continue to use it successfully, and should continue considering it as an option particularly if they're not highly skilled at crafting nuts (even normal ones, never mind compensated which is a whole other level) and would otherwise end up with a guitar that has dubious intonation issues. It's like suddenly it's "dangerous" to recommend a zero fret? What, I'm ONLY supposed to recommend compensated nuts just because it's the only way to accurately compensate on both ends? We're all here to share perspectives, and I've shared mine. It's valid, I haven't disseminated false information, and I'd appreciate being given a bit of credit for having a brain. I don't think that's too much to ask. Greg Edited for Language

I didn't contradict myself at all. You seem to have communication problems. Instead of getting riled up, try giving other people some credit for intelligent thought. I like you... I LOVE your work... I respect you as a luthier... but right now you're making it really difficult to respect you as an intelligent communicator and individual. Like I said, read it again. While you're at it, learn to extend a little respect of your own to people. I'd never deny that you know more about guitars than me, but I still can't figure out why you think we have differing opinions, when we don't... or why you think I don't understand what compensation does, which I do. Read not only my post, but also frank's... he seemed to get what I was saying. Greg

Echoing the above... Also, pretty even split between Strat-like and LP-like tones out there... can't go wrong with a craptastic LP ripoff, either. Even then... I don't know.... Just go to a pawn shop, ask them to line up all of the guitars they're selling for $200, play 'eenie meenie minee moe' and walk out with whichever one you land on. Single coil... humbucker... fat neck... slim neck... just beat it up and only occasionally tune it up, and you'll be getting closer to punk. Gre

Perry, Quit being a **** and read it again.... Greg Watch the Language and Name Calling

Perry, The first words of the very passage you quoted said, "a zero fret doesn't compensate". So who are you arguing with? Damn that's frustrating.... I was going to post more, but there's no point in it if you're going to offhandedly respond that way. Greg

Custom? I agree with Wes, not much. But you could get some nice factory axes for that price. Greg