Andy Eagle
Fractal Fanatic
Warmoth are top class but they don't do the last little bit. That is up to you but it makes all the difference.
The Warmoth body is nice . Remember when you come to assemble the guitar there is an order you must use to properly determine the position of the control plate to perfectly align with the pick guard .
You should fit the neck and bridge first to give you reference for straight on the pick guard .Then when the pick guard is screwed down you can position the control plate. On the subject of hardware I have some firm recommendations. Bridge The best vintage sounding three saddle is the Gotoh , available with or without sides
View attachment 82320
Next the control plate and jack;
The jack should be and electro socket;
View attachment 82321
The controls plate and pick guard need to be a perfect fit for USA or Mexico Fender or you will have problems.
Obviously these are just my recommendations but they are from extensive testing of pretty much all that is available . I was shocked to hear the difference between the brands of brass saddles and how many compensated ones didn't get even close it correct intonation. I compared the tone on a real 53 and whilst I still thought the original bridge had the best tone (F knows why) this Gotoh was a close second and quit a bit better than the others. It also was pretty much dead on intonation with a set of 10s.
Excellent, excellent advice!The Warmoth body is nice . Remember when you come to assemble the guitar there is an order you must use to properly determine the position of the control plate to perfectly align with the pick guard .
You should fit the neck and bridge first to give you reference for straight on the pick guard .Then when the pick guard is screwed down you can position the control plate. On the subject of hardware I have some firm recommendations. Bridge The best vintage sounding three saddle is the Gotoh , available with or without sides
.
The Warmoth body is nice . Remember when you come to assemble the guitar there is an order you must use to properly determine the position of the control plate to perfectly align with the pick guard .
You should fit the neck and bridge first to give you reference for straight on the pick guard .Then when the pick guard is screwed down you can position the control plate. On the subject of hardware I have some firm recommendations. Bridge The best vintage sounding three saddle is the Gotoh , available with or without sides
View attachment 82320
Next the control plate and jack;
The jack should be and electro socket;
View attachment 82321
The controls plate and pick guard need to be a perfect fit for USA or Mexico Fender or you will have problems.
Obviously these are just my recommendations but they are from extensive testing of pretty much all that is available . I was shocked to hear the difference between the brands of brass saddles and how many compensated ones didn't get even close it correct intonation. I compared the tone on a real 53 and whilst I still thought the original bridge had the best tone (F knows why) this Gotoh was a close second and quit a bit better than the others. It also was pretty much dead on intonation with a set of 10s.
If you get the long-bushing Switchcraft jack, it should work ok with the right-angle pluggy, as long as you ensure it is screwed into the socket with enough threads sticking out the outside of the socket. Don't use a bunch of washers to make the end of the bushing flush with the socket, or you're defeating the porpoise....@Andy Eagle Will a right angle plug work with that socket?
Thanks
It does but not all right angle jacks are the same. As a safety thing you could get the jack that Joe mentioned and that would help. The Electrosocket is more forgiving than the regular tele cup. Neutrik plugs fit a regular Tele.@Andy Eagle Will a right angle plug work with that socket?
Thanks
And that's what kits are for. For those first time builders to whom getting the experience first is more important then sourcing the best of stuff. Which you can always upgrade later. That's how I started out with building pedals. With buildyourownclone and generalguitargadgets kits first, and then moving out into sourcing stuff.There is NOTHING beginner about the finishing part ( and I don't just mean painting). Essentially that is the difference that costs X$$$$ when you go custom shop. If you can't speck out a decent list of the hardware and know if it is suitable your not ready to build a guitar. You won't even begin to know what you don't know, never mind if you can actually do it.
Wouldn't know if his guitars are good or crazy awful. I'd have to play them to be sure. I do love to watch his vids though to learn about woodworking in the context of guitar building. And be inspired. Same with Sean of scar my guitar. I like out of the box thinking when it comes to guitars. The world doesn't need more Les Pauls, Tele's or Strats. Thanks to good and cheap CNC you can get a decent one for less then the price and time it will cost you to make one yourself. So if you're gonna make something, make it interesting. Maybe not as extreme as Ben does by completely hollowing out and slicing apart a Les Paul kit body. But sometimes you have to float out there to find some 'interesting shit'. And that's where you may find magic. And even innovation.As for Crimson, Ben is an excellent woodworker but he makes some crazy awful instruments. More about the idea and if you can do it than does it actually work or sound good.
Inovation needs to be tested and evaluated . Ergonomics and tone never play a part in Bens work. He is a great woodworker but I suspect a mediocre guitar player . The reason people still make Strats and Teles is because they work and sound incredible (if you get it all right.) Standard Guitars from most manufacturers have thick tone sucking paint jobs because it is easy to get a great look . I do relic refinishes for a reason . You can't paint a guitar as thin as I want and get a perfect flat surface no matter how you do it . A super thin brittle nitro finish is very easy to damage so starting with a relic is a lot less painful when you get the inevitable dings. People also (mostly) love them if they look real.And that's what kits are for. For those first time builders to whom getting the experience first is more important then sourcing the best of stuff. Which you can always upgrade later. That's how I started out with building pedals. With buildyourownclone and generalguitargadgets kits first, and then moving out into sourcing stuff.
Wouldn't know if his guitars are good or crazy awful. I'd have to play them to be sure. I do love to watch his vids though to learn about woodworking in the context of guitar building. And be inspired. Same with Sean of scar my guitar. I like out of the box thinking when it comes to guitars. The world doesn't need more Les Pauls, Tele's or Strats. Thanks to good and cheap CNC you can get a decent one for less then the price and time it will cost you to make one yourself. So if you're gonna make something, make it interesting. Maybe not as extreme as Ben does by completely hollowing out and slicing apart a Les Paul kit body. But sometimes you have to float out there to find some 'interesting shit'. And that's where you may find magic. And even innovation.
If you don’t mind not using the “right” jack/socket for a tele, you could also use a jack plate - square or football.@Andy Eagle Will a right angle plug work with that socket?
Thanks
And you test and evaluate by trying and building stuff. And I reckon most guitar builders are mediocre guitar players, because time spent building is not time spent playing. Which is usually the same argument people use against modelers. I don't wanna tweak, I wanna play!Inovation needs to be tested and evaluated . Ergonomics and tone never play a part in Bens work. He is a great woodworker but I suspect a mediocre guitar player . The reason people still make Strats and Teles is because they work and sound incredible (if you get it all right.) Standard Guitars from most manufacturers have thick tone sucking paint jobs because it is easy to get a great look . I do relic refinishes for a reason . You can't paint a guitar as thin as I want and get a perfect flat surface no matter how you do it . A super thin brittle nitro finish is very easy to damage so starting with a relic is a lot less painful when you get the inevitable dings. People also (mostly) love them if they look real.
One, the best builders are great players because they wanted more.And you test and evaluate by trying and building stuff. And I reckon most guitar builders are mediocre guitar players, because time spent building is not time spent playing. Which is usually the same argument people use against modelers. I don't wanna tweak, I wanna play!
As for people still wanting Strats and Teles, yes, they work, and work well. But the point I was trying to make was, why go through all the effort to learn to/and build guitars when all you're going to do is do is what already easily commercially available? In that sense I can understand why Ben builds crazy unergonomic designs. He's probably sick to death of building yet another Les Paul, Tele or Strat. Now you don't have to create something unergonomically outlandish as Ben does, but make something that at least looks different. Or improve on an existing design. If your dream guitar is basically a Tele or Strat that could have been built by Fender, get something from Fender! That's my personal opinion.
+1 on the Electrosocket. The stock Tele cup is a pain in the ass.
I also like these: https://www.rockinger.com/en/parts/...ockinger-control-plate-for-tele-special?c=114
The stock spacing has always been irritating to me on Teles. The volume knob is too damn close to the switch on the stock plate. Why in the hell Fender never fixed that in nearly 70 years a mystery to me.
I think I can set the action lower with a compound radius neck, but it's subtle.Guys thinking about the neck for this build. In another thread someone says " a compound radius 10-14" can be set up a little lower than the PRS's straight 10".
In your experience, do you agree with that statement?
If so, why?
Thanks.
It's geometry, the strings represent as a section of a cone and a straight radius fingerboard is a section of a cylinder now try put those two together and track the path of a string . In this case the further you go away from the centre line the more the string sees a curve. Now add neck relief and you end up with a mess. Only CAD models can easily show you this.( This is why Plek is awesome as ONLY it can use this data and the vibration pattern of a string combined with how that sits on a real neck with tension and cut the whole thing accordingly. Anyone who claims a good luthier and a jig can do this is frankly an idiot with no understanding of the PLEK . But in the wrong hands none of this will happen and that's another story.) With a compound both strings and fingerboard are a cone, how well it works will depend on how matched they are. Remember the neck relief should only ever be half the thickness of your high E. Another topic of conversation would be that only a perfectly flat fingerboard works properly in all situations EVERYTHING else contains compromises. A simple rule of thumb is compound if you like a radius or the flatter the better with a straight.Guys thinking about the neck for this build. In another thread someone says " a compound radius 10-14" can be set up a little lower than the PRS's straight 10".
In your experience, do you agree with that statement?
If so, why?
Thanks.