Floyd Post Broke through Schecter! / NGD

Planta Fantasma said:
I've built several Strats w/ Black Limba & Floyds. I know I have more pics but they're unsorted at the moment.
Never any problems as of yet. Made them both 13 years ago. I've made necks w/ both white & black limba.
All the original Explorers, V's & Moderns from Gibson were made w/ white limba/Korina. They're now worth a fortune. (I understand because of the vintage & not the wood, but nonetheless.)

Sometimes I intentionally look for wood w/ interesting patterns. It depends upon what I'm after in a build.

The bottom line is it's from a tree. It's organic. Sometimes you get a lemon of a board. It happens w/ all species.
There are so many variables when it comes to wood grading & selection. Sometimes the trees are fractured in strange ways when they're felled.

Some people don't even know what a fall crack is. I pointed them out to a very famous luthier out there when I seen some in one of his pieces. He didn't even notice them. (he shall remain un-named).
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That backlit creature with the eyes. Nice touch!
 
sprint said:
I was reading up on balanced tension strings as I'd not considered them before. I read in various comments that they offer a more equal feel across strings but I did not see anywhere that they benefit floating trem performance. Would a more balanced side to side floating trem tension not be a main benefit of balanced tension strings?, or does a balanced tension across a floating bridge (more even from post to post) not really matter that much?
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I really love them. I've found trem balance and stability to be just fantastic with them. To me though, the biggest reason was that two guitars I've had haver ended up with twisted necks, and I think the wood specimens used for guitars in the affordable takes often enough is green, could really stand to be dried more, and is more prone to movement. I'm not saying this as an expert at all; it's just my laymen's guess.

But seriously, with the trem, to me balanced tension is the utter ideal. I don't think there's anything wrong with standard sets, but I think if string tension had been considered in a more detailed way in the early days of the electric guitar, I think balanced tension sets would be the standard. Just my two cents.
 
State of Epicicity said:
I really love them. I've found trem balance and stability to be just fantastic with them. To me though, the biggest reason was that two guitars I've had haver ended up with twisted necks, and I think the wood specimens used for guitars in the affordable takes often enough is green, could really stand to be dried more, and is more prone to movement. I'm not saying this as an expert at all; it's just my laymen's guess.

But seriously, with the trem, to me balanced tension is the utter ideal. I don't think there's anything wrong with standard sets, but I think if string tension had been considered in a more detailed way in the early days of the electric guitar, I think balanced tension sets would be the standard. Just my two cents.
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Thanks - going to give them a whirl on my FR guitar
 
Andy Eagle said:
You shouldn't need too but it is an option. It only happens when the rout is poorly designed to not support the studs and the grain is coincidentally weak at this point. Plenty of basswood guitars with floyds that this never happens too. Ibanez RG550s for example.
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Which is interesting because basswood is pretty soft from my understanding...
 
The replacement guitar stays in tune perfectly, the fretwork is great, the action came from the factory really low, the tone is deeper, it’s freaking completely gorgeous with the grain of the black limba and wenge, and it feels fine, but for some reason, I just don’t connect with it at all. I mean, I so wanted to love this thing and for it to be my new instrument, but I just felt nothing.

I’ve been ruminating hard about this. I know I’m ridiculously picky about guitars, because the technical aspects are just a gate for me, an opening gauntlet of analysis, but on top of a guitar that functions well, I really just have to feel something with it. It’s like a relationship, an intimate one, where you’re using it to speak. Not where you’re using it to speak for you; you’re speaking through it; it’s a conduit to your soul. And I feel like that’s sacred. I don’t give a damn about much else in this world, but at least this one thing I’ll insist on for myself.

I can’t put my finger on it, because this thing is brand spanking new, from the manufacturer’s US headquarters no less, and it looks freaking amazing and awesome, but I know for sure I don’t want it, and I don’t exactly know why. There’s no real reason I can point to, and I feel like I should have a concrete thing to point to and say, “This is exactly the reason,” but the reality is I just feel empty with it in my hands.

I guess it’s the same as when I’ve been in so many guitar stores and picked up boutique and incredible handmade instruments, and my dick goes soft. It’s not a reflection on the guitar, it’s my attraction to it. The same reason why in the aughts I played dozens of Gibson and Epiphone Les Pauls until I settled on the one that hit me in the solar plexus.It was an Epiphone, to my surprise, and it was the one that had the mojo. I couldn’t put my finger on why for that either, but whenever I picked it up, I could feel it calling to me with inspiration.

While the first Super Shredder was out of commission, I finally reconstituted my only other guitar from storage, my Washburn Parallaxe Trevor Rabin (with my mods of series/parallel switches, dual concentric knobs with 50s LP wiring, low tone cap values, and Duncan Saturday Night Specials), and immediately I felt so strongly the connection I’ve always had with that instrument. It hit me like a fucking hammer how important that connection is to me, and how I never want another guitar I don’t deeply bond to. Contrasting the two, the thought of keeping the new Super Shredder feels terrible, wrong, and superficial. It centers me to who I am as a player.

This was not at all what I expected, and not what I wanted at all, but I have to be true to my feelings. I so wanted to love this thing and immediately developing a relationship with it, but it would be like dating someone with no chemistry. You just can’t do that.

So I’m going to sell the Super Shredder. I didn’t even take the plastic film off the pickguard and trem spring cover. I have no doubt someone can love this guitar and bond with it. I’ll try to take some good pictures of it, but my wife took some off the cuff while I was taking it out of the box, and those are below. These were taken as a kind of celebration, because the last thing on earth I thought I’d be doing is selling this thing, so just know these initial pictures were not taken in the spirit of product photography, but just a happy personal moment, with some great afternoon light blazing in!

I can’t think of a non-douchebag way to ask this, but what advice would you guys give for selling a guitar in today’s marketplace?

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State of Epicicity said:
The replacement guitar stays in tune perfectly, the fretwork is great, the action came from the factory really low, the tone is deeper, it’s freaking completely gorgeous with the grain of the black limba and wenge, and it feels fine, but for some reason, I just don’t connect with it at all. I mean, I so wanted to love this thing and for it to be my new instrument, but I just felt nothing.

I’ve been ruminating hard about this. I know I’m ridiculously picky about guitars, because the technical aspects are just a gate for me, an opening gauntlet of analysis, but on top of a guitar that functions well, I really just have to feel something with it. It’s like a relationship, an intimate one, where you’re using it to speak. Not where you’re using it to speak for you; you’re speaking through it; it’s a conduit to your soul. And I feel like that’s sacred. I don’t give a damn about much else in this world, but at least this one thing I’ll insist on for myself.

I can’t put my finger on it, because this thing is brand spanking new, from the manufacturer’s US headquarters no less, and it looks freaking amazing and awesome, but I know for sure I don’t want it, and I don’t exactly know why. There’s no real reason I can point to, and I feel like I should have a concrete thing to point to and say, “This is exactly the reason,” but the reality is I just feel empty with it in my hands.

I guess it’s the same as when I’ve been in so many guitar stores and picked up boutique and incredible handmade instruments, and my dick goes soft. It’s not a reflection on the guitar, it’s my attraction to it. The same reason why in the aughts I played dozens of Gibson and Epiphone Les Pauls until I settled on the one that hit me in the solar plexus.It was an Epiphone, to my surprise, and it was the one that had the mojo. I couldn’t put my finger on why for that either, but whenever I picked it up, I could feel it calling to me with inspiration.

While the first Super Shredder was out of commission, I finally reconstituted my only other guitar from storage, my Washburn Parallaxe Trevor Rabin (with my mods of series/parallel switches, dual concentric knobs with 50s LP wiring, low tone cap values, and Duncan Saturday Night Specials), and immediately I felt so strongly the connection I’ve always had with that instrument. It hit me like a fucking hammer how important that connection is to me, and how I never want another guitar I don’t deeply bond to. Contrasting the two, the thought of keeping the new Super Shredder feels terrible, wrong, and superficial. It centers me to who I am as a player.

This was not at all what I expected, and not what I wanted at all, but I have to be true to my feelings. I so wanted to love this thing and immediately developing a relationship with it, but it would be like dating someone with no chemistry. You just can’t do that.

So I’m going to sell the Super Shredder. I didn’t even take the plastic film off the pickguard and trem spring cover. I have no doubt someone can love this guitar and bond with it. I’ll try to take some good pictures of it, but my wife took some off the cuff while I was taking it out of the box, and those are below. These were taken as a kind of celebration, because the last thing on earth I thought I’d be doing is selling this thing, so just know these initial pictures were not taken in the spirit of product photography, but just a happy personal moment, with some great afternoon light blazing in!

I can’t think of a non-douchebag way to ask this, but what advice would you guys give for selling a guitar in today’s marketplace?

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Sorry it worked out that way, but I feel the same about needing a connection to enjoy a guitar much.

You could maybe give it a few days and see if the non-feeling persists, but IMO you're doing right to follow your gut.
 
Dave Merrill said:
Sorry it worked out that way, but I feel the same about needing a connection to enjoy a guitar much.

You could maybe give it a few days and see if the non-feeling persists, but IMO you're doing right to follow your gut.
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Much appreciated, Dave. I feel nonsensically guilty about this. On paper, this should be my favorite guitar. But I have to remind myself that this replacement guitar is not one I got to pick.
 
Planta Fantasma said:
Well, at least you're not sitting there w/ a broken guitar.
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Totally. That's exactly why I feel so guilty; I feel like it's going to waste. If they hadn't have replaced the guitar, I would've just set it aside and eventually to fix it with epoxy, I guess, but now I have one that functions fully, like you said. I don't think I need to buy another one right now, honestly. I have this Trevor Rabin in my hands, and it just feels so right. My wife and I refer to this guitar as Big Trev, in honor of the great Canadian comedian.
 
Joe Bfstplk said:
Her sister was hot but she was not.

Name her Lilith, and go have a beer with Norm and the gang....
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That's a helpful to look at it. I have to say, as a kid I always thought Lilith was hot. Still do: Smart, strong, no nonsense, gives as good as she gets

Total Tangent: I never watched Fraiser (and I only watched Cheers as a child), but my wife loves it and has quoted 1,000 lines from that show to me. She says I am a combination of Frasier and Niles, always stuck too much in my head and neurotic as a Woody Allen character. She also thinks the writers were heavily influenced by the play Equus (which is also one of my favorite films and something I quote almost daily), and one of many clues is that the parents of Fraiser and Niles are named Martin and Hester; in Equus, the main character is a psychiatrist named Martin, and his best friend, to whom he goes to to work out his doubts and ideas, is Hesther. Anyway, what were we talking about?
 
Sorry things don’t seem to be panning out with the guitar. I want to say give a little time and she may begin to feel like your soulmate. Although It sounds like your set on your feelings.

We just lost the coolest cat to cancer I ever had two days before this past Christmas. He was 16, an all black Maine Coon and was like a human being with coolest personality. My wife is ready to get another cat or dog, but I have no desire. It’s like nothing will ever replace him and I feel wrong to get another because I won’t be able to love it properly. I know it’s weird and I never felt this way about other pets I had. While I say this now somehow I know I will have another pet someday. Maybe your situation is similar.

OTOH, as far as selling and if you wanted to try and find another guitar. Maybe going to a dealer and tell them the story and show it’s brand freaking new you may do better with a trade. Make them give you damn close to equal value or walk. Some place might see it as a cool proposition.
 
GitGuy513 said:
Sorry things don’t seem to be panning out with the guitar. I want to say give a little time and she may begin to feel like your soulmate. Although It sounds like your set on your feelings.

We just lost the coolest cat to cancer I ever had two days before this past Christmas. He was 16, an all black Maine Coon and was like a human being with coolest personality. My wife is ready to get another cat or dog, but I have no desire. It’s like nothing will ever replace him and I feel wrong to get another because I won’t be able to love it properly. I know it’s weird and I never felt this way about other pets I had. While I say this now somehow I know I will have another pet someday. Maybe your situation is similar.

OTOH, as far as selling and if you wanted to try and find another guitar. Maybe going to a dealer and tell them the story and show it’s brand freaking new you may do better with a trade. Make them give you damn close to equal value or walk. Some place might see it as a cool proposition.
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Jesus Man, I'm so sorry. That is horrible and brutal. For my wife and me it was our younger dog who died a couple days after he turned 13. That was so long ago, but she can't deal with adopting again. It was a long a brutal cancer, and it just ripped our hearts out. We spent everything we had then went way way way into debt, and nothing could save him.

With the guitar it's different though. I think I'm still learning what I'm truly drawn to. Like one thing I'm realizing now is that I have an affinity for small frets, like my Les Paul had and my Trevor Rabin has. The ability to get right down there on the fingerboard feels so right to me. My connection to the Trevor Rabin feels so strong and so right, for whatever reason, but I don't think it's like I can't have that with another guitar right now, just not the one they sent me haha. I'm sure there's some other guitar out there that would do it for me too, but I don't need a new guitar necessarily. I would love something with a Floyd that had the mojo, and maybe I'll find it, but I'm such a picky bastard it has to be in person. I have to feel it, plug it in at a store, hear it, and know it's right. I know for sure I can love the specs and demos online but still not feel it in person. To me each piece of wood has its own resonance and feel and soul, and the combination of woods in the neck and body complicate that too. I don't know, but one thing I've learned about myself is that, if I have a guitar that doesn't have the mojo, I'll spend all of my time fighting it instead of just playing. With the mojo, even if it doesn't have the specs I prefer, I forget everything else and just play.
 
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