Warmoth neck

Re: Warmoth neck

cue the warmoth fanboys to stampede into here and tell you why the hundreds of parts casters from their beloved warmoth are superior to any fender custom shop and that your just plain nuts.
 
Re: Warmoth neck

If people knew who USACG was shadow building for ($3,000+ boutique guitars) , there wouldn't even be a need to talk about it!

Nuff' said...

;)
 
Re: Warmoth neck

I have bought 3 Warmoth necks. 2 were vintage moderns Maple/maple and 1 was a pro maple/pao ferro. All were straight 9.5" radii, std thin back. I am still eager to try a '59 roundback one day

The pro definitely seemed tonally inferior, and I sold it. I cannot attribute with any certainty it to the truss rod but my gut says it is.

That said, I recently bought a Squier CV tele neck with tuners for under $100 shipped and I am every bit as happy with it as my Warmoths.

PS as for finishing it yourself, Tru-oil is one of the cheapest, easiest most effective options and Warmoth recognizes tru-oil as compliant with their warranty
 
Last edited:
Re: Warmoth neck

The pro definitely seemed tonally inferior, and I sold it. I cannot attribute with any certainty it to the truss rod but my gut says it is.

Exact same thing happened to me.

However, my vintage style neck is great. I have a USACG Jazz bass neck here and quite honestly I wouldn't know why it is supposed to be superior.
 
Re: Warmoth neck

Recently changed my American Standard Tele neck to a Warmoth Pro mahogany/ebony. No set up problems and no tonal change from the original neck at all. Still sounds exactly like my same old American Standard.

Picture086-1.jpg


Picture127.jpg
 
Warmoth neck

Compound radius is not that much harder to set up. If you're using a Floyd, there's instructions on the net regarding how many shims you need under each saddle if you're doing a Warmoth 10-16 radius, since the radius needs to be 18 inches on the bridge.

A straight radius is just a little easier since its easier to tell what the bridge radius should be, which makes setup quicker.
 
Warmoth neck

BTW, one time I called Warmoth to discuss getting a neck made from quartersawn maple. They advised me against it- though they would do it, they claimed quartersawn maple is no stronger than their standard (flat sawn) maple necks, particularly when using their dual action truss rod.
 
Re: Warmoth neck

My biggest beef with Warmoth is the side-adjusting truss rod on the Fender-styled Warmoth Pro necks. I think they are hideous, so I covered mine up (I had to get the Pro because I wanted a Floyd nut, but if I had the chance I would have gotten the vintage modern).

I haven't had any issues with the dual-action truss rod. Really most differences in tone complaints are part of the placebo effect. If the people complaining never knew what type of rod was in there, they would not even notice any difference. Slight differences in tone can be compensated for anyways.

I also wish they didn't charge a lot of extra money to get get a straight radius, or a certain back contour. Kind of silly if you ask me. Also, they act like "Oh no if there isn't a finish it is absolutely going to warp and be FUBAR! We will not cover this in the warranty because you didn't pay us extra or you didn't take the time to finish it you lazy bum!". Plenty of necks don't have finishes or are just oiled (some oils don't count in the warranty), and they don't have problems. I also don't think Warmoth's finishes on necks are too great.

Also have a compound radius on the neck. Good thing I like high action, because with a Floyd Rose the action is moderately high near the heel (could've been lower, but then there would be fret-out problems).

But all in all with my gripes, I'm very happy with my neck, just I wish it could be even better with all the options I wanted. My perfect ideal Warmoth neck would be Vintage Modern, 1-piece maple, R2 Floyd nut, '59 roundback contour, 9.5 radius, 6100 frets, tung oil finish, 22 frets.
 
Re: Warmoth neck

Shims under the saddles. Sure...

Agreed. Not the best idea, as it affects the fine tuning range and intonation (which becomes a pain in the neck to adjust because there are shims involved). Floyds work best with a straight radius, but they can work with a compound radius.
 
Re: Warmoth neck

You guys have me intrigued. I have a Warmoth body I need to put together. And now I'm considering a USACG neck. I called them up to ask some questions. Unlike Warmoth, I can actually have them make my favorite neck radius... 12"-14" compound. If I go with a straight radius, I like 12. But to me, anything flatter than a 14 just seems uncomfortable. The 12"-14" answers all desires! I have a custom made guitar built by a local luthier that has it and it is the perfect feel for my hands. And since USACG will do it, well... Sorry, Warmoth.
 
Re: Warmoth neck

You guys have me intrigued. I have a Warmoth body I need to put together. And now I'm considering a USACG neck. I called them up to ask some questions. Unlike Warmoth, I can actually have them make my favorite neck radius... 12"-14" compound. If I go with a straight radius, I like 12. But to me, anything flatter than a 14 just seems uncomfortable. The 12"-14" answers all desires! I have a custom made guitar built by a local luthier that has it and it is the perfect feel for my hands. And since USACG will do it, well... Sorry, Warmoth.

That doesn't sound like too bad of a compound. Close enough to each other that I wouldn't imagine big setup issues that some people have. Go for it!
 
Re: Warmoth neck

Most folks know that those dual actions truss rods, much like Stainless Steel frets, are tone killers.
A lot of folks "know" things that aren't necessarily true. I can't comment on the tonal effect of dual action truss rods but I have had two guitars refretted with stainless frets and no noticeable tone change.
 
Re: Warmoth neck

I think too large frets are changing sound. I don't think the material does much, it's some form of hard'n'heavy metal compared to the fretboard wood either way.
 
Re: Warmoth neck

Agreed. Not the best idea, as it affects the fine tuning range and intonation (which becomes a pain in the neck to adjust because there are shims involved). Floyds work best with a straight radius, but they can work with a compound radius.

These are the types of shims I use on Floyd saddles, I don't see how they effect fine tuning range and intonation at all

http://www.axcessories.com/products.asp?cat=25

On USA made Jacksons you find copper shielding tape under the saddles that act as shims, which IMO is not as reliable- if you take the saddle off years down the line for cleaning, the tape falls off and you can't get the correct height. These shims I use are made of steel, I don't see how they would have adverse affects.

Just put 3 shims under the high and low E strings, and 1 shim under the A and B strings, and your action on a 10-16" compound radius neck like Warmoth or Jackson is set.

- - - Updated - - -

I copied this off the Warmoth site:

This is an easy guide to shimming your Original Floyd Rose saddles to get a close match to your fretboard radius. This way you can dial it in very fast to get very close to a perfect match for best action.

Note: Unless your guitar has a 10" non-compound fretboard radius, you will need to shim your floyd saddles if you want good action. This is because the ORIGINAL Floyd bridge radius = 10".

You can buy .2mm shims that fit Floyd saddles on the internet in packs of 6 or 12. Just do a google search. To find out how many .2 mm shims to add to each string saddle, see below (note that the D and G strings get no shim):

Fingerboard Radius (at bridge) / E strings # shims / A and B strings # shims
10" / 0 / 0
12" / 1 / 0
14" / 2 / 1
16" / 2 / 1
18" / 3 / 1

You can also make your own shims out of coke soda cans (cut out of the coke can skin, which is about .1mm thick) or you can use copper shielding tape (that you shield your guitar with.) If you do either of these, you should measure the thickness with a micrometer. You can also cut up feeler gages to get your appropriate thickness. Here is a table of thickness to add to each string:

Fingerboard Radius (at bridge) / E strings / A and B strings
10" / none / none
12" / .2 mm / .1 mm
14" / .4 mm / .2 mm
16" / .5 mm / .2 mm
18" / .6 mm / .2 mm

For Warmoth compound necks, use the 18" row for radius at bridge to find out what to add. For some other compound neck, you'll need to estimate or calculate your fretboard radius at the bridge ( the radius flattens as you get closer to the bridge for a compound neck.)
 
Re: Warmoth neck

If people knew who USACG was shadow building for ($3,000+ boutique guitars) , there wouldn't even be a need to talk about it!

Nuff' said...

;)

There's a few guitar shops in NYC that are building Fender Custom Shop quality guitars (IMO, better than any Custom Shop I've played), and they're all using USA Custom necks and bodies
 
Re: Warmoth neck

There's a few guitar shops in NYC that are building Fender Custom Shop quality guitars (IMO, better than any Custom Shop I've played), and they're all using USA Custom necks and bodies

Well, since the guy that runs USACG's neck shop used to run Fender's CS neck shop, I guess they should at least be on par :jester:
 
Back
Top