GregP

Well, I got an e-mail notice that the EZ Bender is back in stock. I'm thinking of ordering one before they run out again. I'm still looking for anyone who has any experience or recommendations for a flat bridge. I can make do with a normal nut instead of a 'nut as bridge' though I'd like roller. Since roller doesn't seem possible on EITHER end, I'm going to have to make-shift. I was thinking of Graph-tech. Not sure what it would take, but I imagine you could somehow file down the LP replacement saddles to give a flat "radius" (ie NO radius). If I used a similar material at the nut, that should be sufficient for B-string bending, no? Greg

Horrible. I wonder if I'm the only one who plays seated when I look at some guitars. Not just this design, but even tried and true classics. LPs (dual or single cutaway) feel horrible. Ditto for my Godin LG. Feels like it's gonna slip off all the time. My project is going to be iffy for seated playing as well. My headless, though, is going to be all about ergonomics. The upper bout is also just way too big and round. Nasty. Greg

Until I became comfortable with full barre chords, I played them without the root (lowest, in this case) note. That meant that my forefinger only had to cover the 1st and 2nd strings instead of reaching all the way up to the low "E" as well, as described in the post above. 1 1 2 3 3 x That means that your grip can shift a bit so that it's almost like gripping a tennis raquet or somthing like that. In many ways, it's similar to the way you'd play an open "C" (but trickier). I'd take a picture, but I'm not at home with a camera. You can mute the low "E" string with your thumb if that's comfortable for you, by touching it with your ring finger (since it's already at the 5th string), as well as by practicing strumming technique so that you simply don't hit it. I remember what it was like learning that darned "F", but I stuck to it because I really wanted to use it for playing certain Credence songs I was learning. Don't worry, you'll get it eventually. I STILL use the semi-barre chord version a lot of the time, even though I have no problem playing the full deal. Greg

I don't see rev. Jacksons OR graphite fingerboards on Stew Mac! Where to find? Greg

Stevie almost always tuned half a step down. Virtually invariably. But for this one, he's in standard tuning. I can send you the tab if you're particularly keen on it. Greg

It's a pickup for any bass with a string spacing no greater than 2.25". In other words, a 4-string in most cases. Greg

Wes is Bill Gates!! That sounds like half my yearly income spent in one go.

Welcome to the forum! Sorry, can't answer your question.

I can't imagine StewMac selling incorrect plans. Anything's possible, but they've been in business long enough that at least one person would have written to them by now if there was an error, and they would have pulled the plans and revised them. Greg

As it turns out, the jack was physically broken; hence no power supplies working. Took it in and exchanged it, and now the 9V power supply I had kicking around works. Now I just need to decide how best to split my guitar signal into a clean and a 'dirty' signal for recording a redundant part. Greg

The thickness of the top is only a factor if the TOM is being mounted on a segment that's been carved down. A flat plane is a flat plane. Greg

Thomas, were you aware that the image in your avatar is over 500k big? That's a lot of loading for such a small image. ;-) I suggest manually resizing it and then re-uploading it. Greg

Yeah, that can't be an EBow, can it? There's no output on an Ebow in the traditional sense of an audio signal. Besides that, to make an Ebow you would HAVE to know how it's constructed, too, no? Can't just hook up the internal components in any old fashion. Greg

Yeah, physically looping it back to a different input instead of the return jack should do the trick! Looking at the mixer, another idea presents itself-- the send is mono, but the return is stereo. One of the return jacks (I think the left?) defaults to mono return for a mono signal, but if I use the other jack, it should trick the mixer into thinking that it's half of a stereo return. That means that the effected signal will only be on the right channel. The end result is that if I pan my channel centre, the left signal should be clean and the right signal effected. In my sequencer, I can treat a stereo pair as 2 mono signals instead, so that gives me my 2 discrete channels, I think. I'll have to test it out to know for sure. Then again, just routing it to another input is just as easy, so the way I've described is possibly just being unecessarily clever. I've tried a Y-cable (I actually had one, though it's not high quality or anything) and it seems to work fairly well. The clean signal's waveform is showing clear signs of DC offset problems, but it's nothing that can't be worked at. Still, the mixer idea appeals to me, so I'll give that one a try, too! Cheers for the help, Lovekraft. Now that I've started doing some research for the project, though, I'm still interested in trying out some sort of electronics project. If anyone knows of a very simple and inexpensive project I could try out to get my feet wet with, I'm open to suggestions. Greg

I have a 'natural' finish one, so I don't even know what this one looks like, but I can tell you that the quality and sound is great. Buyers will not be disappointed with the sound. A nice earthy boomer, not just a weak shimmery thang, though obviously the details in the highs aren't missing either. Greg

I could be wrong about my whole concept, then-- I was told by people (and I just took them at their word) that a Y-cable will fark with the <insert technical term here> and was therefore NOT a good idea for recording purposes. It seems to be common wisdom that an active splitter IS the way to go, and that the mistake is thinking that a Y-cable will actually work. If I'm wrong, I'll happily just buy a Y cable. I'm not sure how the mixer would help me solve my problem, but if it COULD, that would be an even better solution. If I hook the GDI21 into the effects loop, then I will only be able to control the wet/dry amount, which will still be a signal that gets blended into one. Ie: I'll then be able to adjust clean vs. dirty if I want to mix some clean signal back in, but I don't see how I can record the clean and the dirty as two discrete signals using the mixer I have. (A UB802). Greg

*bump* The rectangles marked with an "R" are 10K resistors, but is it important what type of resistor to use? Any idea what the triangles are? Sometimes they can be IC's, no? Greg

Bookmarked! Oddly enough, even though it's a harder process, the thought of doing this is less intimidating to me than using spray equipment (or worse-- a brush!). It meshes with my comfort at doing things in very small areas bit at a time. Greg

Yep, you're right, there is delay. However, if you're listening and watching his fingers, it's pretty clear that it's not a slap-back delay intended to "double" each of the notes he plays. It's an ambient delay, which produces a spatial effect. So, I'll admit to being wrong about the delay, but I maintain that he's not using it for "cheat" shredding. Greg

There are DEFINITELY players that are faster, and most of them aren't even famous. I also agree about the 'clean tone' equation. Bet it would sound awful with a clean tone. However, I would still very much like to have his level of chops, combined with my own sense of musicality (I could do without his. ). I may be playing devil's advocate a bit, because as I've demonstrated in other threads, I really dislike Tremonti's style. I'm just trying to give him credit for the ability that he DOES have. I think Hammett's definitely overrated, but I ALSO think Tremonti is overrated. If forced to choose who was better, I'd still say Hammett. Greg

This is the one that interests me: Just the upper right. I don't need indicator lights or switches. However, the diagram isn't even labelled-- how do I find out what all the parts are? Where is the voltage coming in? If it turns out to be 9V, can I use this DC power adapter I have here, or would I have to find a different power source? Batteries aren't an option for me, though I'd be happy modifying a "Battery eliminator" adapter, as they only run $10 CDN. Greg

A capo on the third fret? Can't be. One of the chords is an open position E5. With a capo, the lowest you could go is G5. Greg

Thanks, ansil, I'm off to check it out! Back! Cool-- I can 'imagine' that the schematic isn't overly complex by looking at it even though I don't understand it. Now I just have to learn to read it and make a parts list and I can give this project a try. Greg

Brian, I don't think it was the idea of recessing, it was recessing the Hipshot bridge that the author had selected: This is NOT a suitable bridge for recessing. At best, you could recess it the depth of the base plate, and it might even look cool doing that, if it was a perfectly done job. But really, it shouldn't be recessed. I wonder if there any alternatives, like putting a strip of veneer between the neck wood and the fingerboard to give it the couple of millimetres extra height 'proud' of the body that you could get with a bolt-on. I mean, if your calculations show that you do in fact need a neck angle, I think a neck angle's the best solution, but I'm just thinking aloud here. Greg

Sweet! I'll confess to not liking the look of that trem, but like many things it may grow on me. The things that grow on me tend to develop into long-term affection rather than a one-night stand. Looks are only secondary to performance, though, and the trem sounds like a real performer. The electronics... what can I say... that kind of flexibility is something I only dream of. Wicked awesome. Some guitars are wonderful for their simplicity, but there's also room for technology and this one makes me drool. And finally, the guitar itself-- you could have put any electronics in there, and used any kind of trem, and the end result would still be an unbelievable-looking guitar. Good work! Greg