secondwindow
Power User
Cool - glad it turned-out to be any easy swap.I just took off the control plate and I have enough slack with wiring to just flip 180 for now. View attachment 126258View attachment 126259
Cool - glad it turned-out to be any easy swap.I just took off the control plate and I have enough slack with wiring to just flip 180 for now. View attachment 126258View attachment 126259
That's cool!This is also an option. It angles the switch and gives better clearance between the volume knob and the switch.
https://rockrabbitguitars.com/shop/angled-telecaster-control-plate/
View attachment 126266
@Andy Eagle I read that a "compound" radius neck using the same ratio as the string width at the nut to the string width at the bridge (which I assume really means the nut to string-width-at-end-of-fretboard) yields the most consistent action across all strings and during a bend. Agree? Disagree?50/1000" ~ 60/1000" is a good action but don't press the string down at the first fret to measure it. When you play you feel the action as is not with it pressed down at fret one. Action is about feel at the end of the set up and many things play a part and directly affect the hight of the strings. Relief and nut hight need to be right ,in fact the relief needs to be right BEFORE you cut the nut slot depth. So string it up set the truss rod, cut the nut to the right depth THEN set the saddles to the hight 50~60 1/1000" then intonate 3rd to 15th fret fretted notes and if your guitar has NO issues it should be good to go. The tighter the radius the more perfect everything needs to be to work at this setting and you may need slightly straighter neck (almost perfectly flat) to be able to get a three semitone bend on the high E. Or a higher action just to get the same next fret clearance. A big mistake many make is to increase the relief if it buzzes because all you are doing is moving the buzz. In terms of geometry for the guitar perfectly flat fingerboard is best and everything gets worse as you add to the radius. The flatter the board always improves the next fret clearance at the same action with everything else set the same. The effect of this can be a low action on a 20" radius allows the same amplitude as a medium high one on a 7.25".
I just measured my action and its currently at 70/1000 so I'm going to lower it a tad. Nut is great along with intonation and neck relief. It's now right inbetween 50/1000 - 60/1000' amazing what a difference that makes. its so buttery now. bends with ease50/1000" ~ 60/1000" is a good action but don't press the string down at the first fret to measure it. When you play you feel the action as is not with it pressed down at fret one. Action is about feel at the end of the set up and many things play a part and directly affect the hight of the strings. Relief and nut hight need to be right ,in fact the relief needs to be right BEFORE you cut the nut slot depth. So string it up set the truss rod, cut the nut to the right depth THEN set the saddles to the hight 50~60 1/1000" then intonate 3rd to 15th fret fretted notes and if your guitar has NO issues it should be good to go. The tighter the radius the more perfect everything needs to be to work at this setting and you may need slightly straighter neck (almost perfectly flat) to be able to get a three semitone bend on the high E. Or a higher action just to get the same next fret clearance. A big mistake many make is to increase the relief if it buzzes because all you are doing is moving the buzz. In terms of geometry for the guitar perfectly flat fingerboard is best and everything gets worse as you add to the radius. The flatter the board always improves the next fret clearance at the same action with everything else set the same. The effect of this can be a low action on a 20" radius allows the same amplitude as a medium high one on a 7.25".
If everything is good that's the sweet spot for ease of playing with enough room for the strings to move.I just measured my action and its currently at 70/1000 so I'm going to lower it a tad. Nut is great along with intonation and neck relief. It's now right inbetween 50/1000 - 60/1000' amazing what a difference that makes. its so buttery now. bends with ease
No that is nonsense . Think about it, when you bend a string you change the angle that presents to the frets. The more you bend the more the angle. In order for that to be true the ratio of the cone (compound radius) would have to change as you bend a string . The ONLY way for the string axis and the fingerboard plain not to come in to conflict at all is a dead flat (no radius ) fingerboard. If you add radius the more you add the worse it gets.@Andy Eagle I read that a "compound" radius neck using the same ratio as the string width at the nut to the string width at the bridge (which I assume really means the nut to string-width-at-end-of-fretboard) yields the most consistent action across all strings and during a bend. Agree? Disagree?
Turned out beyond all expectations really. Has that vintage look and sound, but a modern feeling neck with medium jumbo frets. I'm all for the vintage tones and look with modern playability. As an added bonus, it was stringed with 14-68 strings in C standard, which I'm really loving at the moment.Looks good, keep us posted on how it turns out.