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Identify Body Wood Type?

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  • #31
    I wouldn't hesitate to recommend Warmoth. They have a ton of options, and every neck I got not only played well and had excellent fretwork, they were beautiful as well.
    Administrator of the SDUGF

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    • #32
      Y'all crazy

      That's alder w/ a top
      "New stuff always sucks" -Me

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      • #33
        Y'all crazy That's alder w/ a top
        Mahogany with maple top - just like a Les Paul.

        Why are you using a locking nut AND locking tuners? Using one eliminates the need for the other?

        aka Chris Pile, formerly of Six String Fever

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        • #34
          Hmmm, maple cap on a mahogany body in a 4 year old thread...

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          • #35
            Originally posted by jfharper View Post
            I was wondering if anyone could point me in the direction of a quality neck maker? Warmoth perhaps?
            What are you looking for in a neck? I have an unused super strat neck with locking nut shelf (R3, 1-11/16") in lightly flamed maple with a reverse headstock, abalone dot inlays, stainless jumbo frets, and Tru-Oil finish that was made for me by Ron Estrada (Mammoth Guitars & B.C. Rich Custom Shop). I've come to the realization that I simply don't have a home for it and I already have 2 other project guitars I'm currently trying to finish up that won't use a Floyd Rose. PM me if you're interested.

            Beyond that:
            • Guitar Mill
            • Warmoth
            • Best Guitar Parts
            I'm a big Warmoth fan boy, very consistent quality, but the others mentioned are top-notch makers and offer arguably even more customization. The big thing right now is wait times, which can be anywhere from 2-6 months with these builders.

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            • #36
              Originally posted by ICTGoober View Post
              Why are you using a locking nut AND locking tuners? Using one eliminates the need for the other?
              i wondered that too

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              • #37
                It's been well established that the woods are curly maple top, mahogany/sapele body.

                Just wanted to comment that the neck pocket was routed out to either lower the neck (to raise the action) or to change the neck angle to adjust action to better fit the bridge which was being used. As you found out, it was lowered too much to fit the bridge you are currently using which required you to also route out the bridge mounting area. You possibly could have avoided the need to rout the bridge by using neck shims.
                Originally Posted by IanBallard
                Rule of thumb... the more pot you have, the better your tone.

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                • #38
                  Originally posted by jeremy View Post

                  i wondered that too
                  Hi, all, I'm back. To answer your questions...cuz I'm dumb. Learn from your mistakes...right.

                  I didn't understand that before, but now I get it...although the guitar stays in tune very well. I thought the locks were a convenience so you didn't have to wind the strings so much around each post.

                  I am battling some slight sitar type sounds on a couple strings, I've tried using those brass string saddle things that go under the string on the Floyd Rose bridge, but that didn't fix it. It has either gotten less over time...like a break in period, or I am getting used to it, but it's still there and those two problem strings just don't ring true like the others. I thought maybe it's in the nut and I should try going back to a traditional nut instead of locking...if I do, I'll be glad I got the locking tuners then, although they are short and I still have the string retainer guide thing installed on the head. The head already had the holes drilled for it...maybe Performance did that...don't know, but I either have drilled holes showing or leave the retainer installed...prolly that later I'll go with.

                  I also have some frets that I believe are higher than others as I have battled getting the action right. Currently I have some neck angle wedges installed to help with the action angle, but on some high e string notes and bends, I lose the sustain. I purchased a diamond fret crown tool because after inspecting the frets it looks like the tops are more flat than a round crown...maybe the neck was not ready for final play and I was supposed to crown the frets. I also got a sander block in case I need to sand them all to height before crowning. I haven't done that job yet, as I think it is going to be a job...remove the neck, tape around each fret, marker the frets with a sharpie, crown and hope I don't mess something up...etc. Part of me just wants to take it to MusicMan here in SLO, CA and have them set it up...but I don't think I want to rob myself of developing the life skill.

                  Anyway, I've found myself referencing this thread over the last few years to show friends the build and read the comments but finally decided to chime back in. Also, I thought I would mention I'm just beginning the process of building my own amp head. I'm going to use Jason Tong of Headfirst Amplification's design for his Jose Cali DIY build...that should be fun and quite an experience...I hope I can do it.

                  I must say, even though this guitar has things that still need to be dialed in, it is still my all time favorite over anything else I've ever played, which isn't saying much, but I'm sold on custom builds now thus the decision for the custom amp journey. From this, I'm understanding more and more why Eddie did this sort of thing, it's really a blast and once you build a knowledge through experience, AND mistakes...shoot even he mentioned ruining some guitars...although I haven't done that...yet, you can make some cool inventive decisions and maybe come up with something new, or at least something you really like. Like when I sold that 60s 50w Marshall, I just got tired of the tone...I didn't know back being 19 that I could mod the thing, I wasn't in the music "loop" enough to know I could take it to some place in Van Nuys and have a guy do some cool stuff to it. Effects can only go so far and can begin to "cloud" the tone that I believe needs to come from the true components of what you are playing. I think that is the thing that I admire most about Ed. I'm not so much a total VH fanboy, more like a fellow Californian who grew up learning to play with friends in my garage, having started out on my Dad's '58 Jazzmaster with a blues riff I quickly wanted to get away from and into more "appropriate" playing like what I gravitated towards from the mid 70s and 80s, that I found myself doing the same things...i.e. putting some Duncan PUs in that fender to get more of "the" sound I was after, but now being in my 50s going back to my roots and admiring the common tinkering we all do together.

                  Anyway, I thought I'd post and update on the guitar status.

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