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Discussion in 'Tele Home Depot' started by preeb, May 16, 2019.
I agree...and darn, that's a beautiful work of art!
do you still do your own cataline tips?
Black knobs. It's a beauty Gil!
Epic build Gil!
Gold or Black knobs (maybe gold on the darker git and Black on the Flame top)
I'm about to start routing 2 strat neck truss rods. You (and I think everyone else?) routes these with a normal bit, both here and on your old threads. Why wouldn't you use a round-nosed bit here? Wouldn't that work just as well but remove less wood and maybe make vibrations lose less energy on the edge? I of course don't think it really matters, but you go after all the little bits.
My votes for gold with the amber switch. I wouldn't want anything competing for attention with that beautiful flame top....
You want to minimize the friction between the rod and the neck material , especially with F build curved channel and old school steel rods that tend to stick to the wood when not being in use for years. It is less of an issue with my single cut Bone and Lyra models since they have a straight channel but I'm also a sucker for the old ways (-;
I'd expect them to be snug with the plug though, no? I'm definitely not going to be the one to try it though!
No, they need to sit in the channel with no pressure.
I use very light clamp down force to hold the fillet down when gluing it and wipe the rod with bees wax to get it to turn easily and prevent rusting.
It is a very common mistake to press the fillet too hard... After rod tightening you risk a twisted rod that in turn will twist the neck...
Black knobs and switch tip. Classy and classic. Nice to match the pup rings.
The gold knobs appeal to me more than the black (and aluminum/nickel).
That they "fade into" the (lovely) top is a nice feature, as far as I'm seeing it.
And, Gil, that Headstock!
The tasteful signature via silkscreen - a nice addition to the inlay.
Can't wait for the special-order pots to arrive and hear this plugged in.
Peace - Deeve
Amazing, thanks. (Still planning my first ~3 neck builds, just managed to split one by touching a flush trim bit a millimeter too far in a curve.) I was wondering whether to lubricate and I thought maybe no because the lubrication can dry out and get stuck. But beeswax would have the benefit that it can be heated a bit to flow if it indeed gets stuck, right?
Gold knobs than black for me. Love this build and am very interested in your pivoting bridge detail with the sound post.
This has been a fantastic build! So many cool innovations here. Thanks for documenting and sharing your building philosophy and techniques with this community. And I guess I'll toss in my vote for the gold knobs - looks right at home with that maple top.
Gold it is then! now we can continue with the build (-;
Thanks for voting guys
A few words on the Lyra pickups...
Some years ago I have solved the painful issue of adjusting a pickup height/tone with the AirGap technology that has proved itself well.
The goal was to separate the magnetic flux the string sees from the pole height so the level of each string can be adjusted without getting the tone to be too harsh/bright or too round/muddy.
Over time I found that my AirGap settings are very consistent: gradually lowering the flux on the high strings (think alnico 2) and bumping the flux on the lower bass strings (think alnico 5). This worked across the model line for the PAF style PU's.
OK... so it got me thinking that maybe there's another way to get that perfect balance on a more basic level and I started playing with changing the total capacitance and inductance of the pickup coils by changing the winding layout and tension. I found that in general the loose winding in a more scattered pattern is tending to give better balance where the high strings are fatter and the low strings are clearer, but with those parameters came other problems and I never really managed to get to a great all around PU tone with the string balance I was after.
Recently I tried a whole new different approach where instead of using a single magnet wire for each coil I used 2 or more and this way I actually created a larger wire spacing for each of the wires in a given coil. This also allowed me to keep the normal tension and still stretch the capacitance and induction way beyond what was possible on a single wire coil.
Over the last few months and many trials and errors I have narrowed this technique down to a magnificent sounding PAF type PU that still sounds like the best PAF's out there but with a perfect string balance where the high e never gets too piercing and the low E never gets muddy...
I will not get into details as to the exact solution but I can only say that the 2 wires I used are not running together in a fixed proximity which was the key to get "that vintage tone".
Having two coils on each bobbin is basically having two completely separate pickups in the same space, but the DCR of each coil is now half of a normal coil so to bring the DCR back to spec I run them one into the other. Possibilities are endless... I can do one bobbin in reverse winding direction and wire the coils as two HB's or Split or run in series or parallel... etc... but some things just never work for me:
1) A single coil out of a single HB bobbin (split) sounds very bad
2) too many switches are confusing and usually useless
3) Some PU options don't work for some types of guitars
with that in mind I opted to use the new technique in the following way:
1) Each PAF will have two tone modes where both are humbuckers
2) One option will be warm sounding for a fat sound similar to normal PAF but with the new string balance (think fatter GBe and clearer EAD)
3) The other option will be a more chimey/airy sounding version of the first tone mode (think sweat P90)
I wire the 4 coils of each PAF into the 4 conductor wire in a way that will allow me to set them in different configuration (think series/parallel) by using the circuit board switching. The volumes will remain only volumes with the same functionality and taper as in the 59's but the tone controls will have a pull/push option to change each PAF from full (fat) to Chimey. Now.. I'm not talking thin chimey... the chimey mode is still a full sounding HB and the two modes are very close but when switching to chimey mode it kind of cleans some of the extra fatness and gets into the P90 zone. It is a subtle difference that actually makes sense (-;
Capacitors are my large PIO type with custom values to accommodate the AirGaps and Lyra PU's better than the classic 0.022mfd that come on the 59.
Those Caps turn into little microphones when playing in high volume, giving that distinct "zing" articulation.
Here's the circuit base
and the PU leads above mentioned
Pots are mounted with toothed spring spacers to protect the maple top
Amber sw tip
Looks pretty nice in context
Harness is pushed away from the sound hole for clean look (hate to see the guts through the crack)
and tied down with a wire
Back plates mounting holes chamfered
A self centering drill is used
for a perfect fit. Covers are flush with the back surface
Strap locks come with a too small of a screw... on the bottom. I use the larger kind above but the head is too large in diameter to fit inside the strap knob...
so I turn it smaller
Locks mounted and tested
I now check the balance of the guitar to see if it is neck heavy. Thumb rule is that it should tilt at anout 45° when balanced at the shoulder strap botton.
String nut slots are cut to correct depth and the NuBone nut is shaped and buffed.
I can't say enough good things about this material.. just like the best bone nuts but CONSISTENT !!