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Freeman Keller

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Freeman Keller last won the day on October 5 2016

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About Freeman Keller

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  1. I have many of the old threads that I started back when I was active at HCAG, including this one. Unfortunately, it no longer works. https://www.harmonycentral.com/t5/Acoustic-Guitars/Yamaha-neck-reset/m-p/34749697#M571501 I probably wouldn't be very good anyway because I used to use Photobucket for hosting pictures and I've given up on them too. The process is simple, loosen the fretboard extension as normal (heat and a couple of pallet knives, watch out for the truss rod). Saw thru the tenon with a very thin blade saw - a gents or Japanese saw. Be careful as you approach the truss rod - it sticks into the top of the pocket. Drill thru the neck block and remaining portion of the tenon, install two threaded inserts in the heel. Floss the cheek to give you the angle you want - the nice thing with the bolts is you can keep putting in off and on until you are happy. Be careful that you don't introduce some twist in the f/b plane - its easy to do without the tenon to guide you. Glue the f/b extension back down, deal with the frets, make a new saddle and do a setup. On mine I attempted a normal removal but couldn't get it to budge. On retrospect and looking at the dovetail it is possible that by angling the steam injector into the pocket better it would have worked. I'll post that one picture Good luck
  2. Daddy, you and I both know the OP isn't coming back which makes me wonder why I wasted my time. I have contact information for CTG that I could pass on to him and a whole bunch of pictures of just exactly how I did my cut off neck reset (I even did a HCAG thread that I could link). However I think I'll just crawl back in my hole and try to ignore this place once again.
  3. I build and repair guitars. I am capable of doing correct neck resets and I do them whenever possible. I have a 1969 FG-150 that was my first guitar, I love it and I played the heck out of it. When if finally needed a reset bad enough I tried the conventional method and the neck wouldn't budge. I sawed it off, converted to bolted butt joint and set the angle. I continue to play and enjoy that old guitar and it will outlive me. Remember that Taylors NT joint is basically a fancy bolted butt joint and that the A&L guitars all have simple versions of that joint. Also, forumite CTGull has success steaming old Yamahas apart, I'm sure he will chime in.
  4. I was given a Tonerite. I gave it away. You don't hear much about them anymore, do you?
  5. Tony, I just stumbled on this and have a few comments. First, for what its worth, my background. I used to be very active at HC but with the general state of the forum I don't come around much any more. I am a hobby builder with a total of 26 guitars to date - a mixture of acoustic and electrics, and a variety of neck construction methods. I'm currently somewhat active at the building subforums at TDPRI, and I recently wrote a thread about thinking about neck geometry. You might find this helpful https://www.tdpri.com/threads/building-for-playability.991659/ There are a variety of ways to get to your final geometry - have your bridge in hand and take careful measurements before you cut any wood. I question your use of 25.5 scale on a travel guitar - personally I would shorten it (doesn't PRS use 25.0 for their standard lenght). I would consider 24.5 or so, that is the scale I use on my parlor acoustics and it makes a very playable guitar. Also think about the size and shape of the head. I also suggest thinking about what you are going to do for a case - I learned the hard way to build to fit an available case when possible (custom cases are very expensive). That becomes even more important for a travel instrument - I would not want to put it in a cheap gig bag. Next question - did you do any internal routing before gluing the cap to the body? You can do it all from the front and back but then you have to cover things up with plastic - it would be a shame to do that to the lovely maple. I'm not sure what you mean about gluing on an extension to your neck to make a longer tenon. All of my set neck guitars have long tenons that extend almost all the way thru the neck pickup cavity but it is a continuous piece of wood. There is no reason not to use bolts and inserts in a M&T neck, particularly if you plan to remove the neck as part of the travel feature. It might be slightly problematic if it extends under the p/u and you plan to remove it. Anyway, I'll check back here from time to time but I think this will be a pretty slow place for you to get information from other builders. There are some other forums (like TDPRI) that are much more active - you might want to post questions there. Good luck
  6. Breaking news. I was playing the Guild last night, my wife looked up from her reading and asked "what guitar is that?". "Larry's 12 string", I said, "I reglued the bridge for him". "Doesn't sound as good as yours" she said and went back to her reading. The lesson, as always, is to play before you buy.
  7. Neal, you are capable of building a 12 string. That way you could make exactly what you want for the strings and tunings you plan to use and the sound you hear in your head. I currently own three acoustic twelves, two of which I built, and they are very different guitars. Fwiw - I used to recommend the Seagull S12 as a pretty good bang for the buck 12 string and I happen to like all of Taylor's twelves, including the 150e. Just reglued the bridge on a nice little MIC Guild (don't remember the model, its in the shop and I could go look at it), again, nice playing guitar - seems happy tuned down two semi tones. Edit - I just looked at the guitar - its a D1212, all mahogany dread (I like smaller bodies better). Typical Guild neck, seems to run in the 700-750 price range which seems reasonable. I've got it tune to D standard with lights, waiting for the owner to come get it. I don't think it really needed the bridge reglued but the owner insisted - went very smoothly. By the way, I do have a few budget 12's that I would suggest staying as far away as you can - the Fender Hellcat is on top of that list.
  8. I've never built an SG copy but there is no reason not to. They are pretty simple, kind of Gibson's answer to the tele. Th SG stands for "standard guitar". There were a variety of different versions of the SG over the years, they changed a lot in the neck pocket area (some are notoriously weak there). I actually think an SG is a relatively poor choice for a custom unless you want to duplicate an icon guitar (maybe the Fool?). Otherwise I consider them very plain - you never see fancy woods or shapes or inlays. Just a standard guitar. If that is the guitar the OP really wants I know a couple of people who are building SG clones and could flip their templates over and make a lefty.
  9. TTF, I have built a few custom guitars - a couple of them for forumites here. One was a left handed ES335 clone, I have also built variations on LP's, tele's, hollow bodies, archtops and a variety of acoustics. Problem is I am not really looking for a commission right now
  10. My son thought he would like a double neck
  11. I've run a Paul Norman carbon fiber biscuit in my Duolian since 2009. Lighter than maple, intonation is fine for the combination slide/fretted play. Paul has sold a variety of compensated saddles for at least that long. My tricone has a normal Tee bridge, my spider has a spider bridge.
  12. The choice of strings for your resonator should depend on how you want to tune it, how you want to play it and its setup. I have three resonators, I typically tune them down to open D or G and I play a mixture of slide and fretted. I run the action just a touch higher than my other acoustics, but they still play reasonably easy. One of my guitars is a wooden tricone that I built, the others are an old spider and a metal bodied biscuit. Based on all of that, I normally string with mediums and usually bump the first string up to an 14 or so. I often run an unwound third - that gets rid of some of the slide rattle. The sets that you see called "resonator " are designed for spider bridge lap playing, usually in"high bass G". Don't put them on your tricone without really thinking about it. A few people run lighter gauge strings on resonators and tune them up to open A or E, but I caution you to be careful and have your guitar professionally set up (in particular pay attention to the break angle over the cones). It is also perfectly reasonable to set up a resonator with lighter gauge strings at concert and just play it like a guitar but I think you loose a lot of the beauty of what it really is.
  13. I need to chime in here too. The open note and the 12th fret harmonic will always be in tune by definition. Its the fretted 12th fret note and the harmonic that need to be in tune. And of course turning the truss rod isn't how you set the action. I lower the pickups as much as possible, do all the action settings in order (since they affect intonation), then once the action is perfect, set the intonation. After that is done bring the pickups up and balance them. I wrote this for another forum, it might be helpful as you are trying to learn how to do setups https://www.tdpri.com/threads/basic-setup.952636/
  14. I need to chime in on this. First, the idea of the flared slide is that it follows the radius of a fretboard which has a lot of radius to it. When you do slide barres you can get more even pressure on all of the strings. For most of us who play on acoustics with relatively flat fretboards a cylindrical slide works pretty well. If I was using a flared slide (which I don't) I would want the flare closest to my hand so I can control it over the first two strings while doing barres. When I pull down to use the tip of the slide for single string stuff I would want to use the straighter part. As others have said, there are many ways to play slide and if someone else puts it on the other way, whatever works. What might not work too well is the nut extender in Phil's post, They are designed to raise (and flatten) the strings on a round neck Spanish style guitar for lap style play. I guess it could be used Spanish style but I've never seen one that way. Most people who play slide include fretted notes, they would be very difficult to do with a nut extender. I happen to have one on my old round neck Dobro right now that I go back and forth between lap and Spanish style play. The capo thing seems like a complete waste but I've got to admit that I've never tried (or seen) one. If you are playing slide on an electric guitar you are probably tuning up to A or E, why would you want to capo above that? And I'll be very honest, a good slide player probably does not need excessively high action - I play slide on everything I own with nice reasonable low "fingerstyle" action. If you want to optimize a guitar for slide (my resonators are slightly higher than my acoustics or my electrics) then do so but there is no need to get carried away.
  15. Its not a M&T, its a bolted butt joint. You see them from time to time on ukuleles and its somewhat similar to Taylors NT joint except for the shims and bolt in the fretboard extension. If Bob is still around and has the neck off he can check the length by knowing that the insert is 1/2 inch long. If the neck is still on the guitar measure the length of the neck block, add 1/16 for the sides, 1/2 for the insert. He does not want the bolt to bottom out in the insert. Also, Bob, you should use Belleville washers under the bolt heads.
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