The Partscaster Thread
Discussion
Gaz. said:
singlecoil said:
Would love to play myself a Tele but afraid I've got no skills beyond making the damn things, and from where I'm sitting making them looks easier.
Aside from assembling the parts, how difficult are actual repairs, such as the neck & fretboard on this Epiphone Les Paul?http://www.ebay.co.uk/itm/Epiphone-Les-Paul-Custom...
Is it as fearsome a project as it looks?
Feasible for someone who is handy but hasn't done it before, though it does ideally need some special tools, especially the sanding block and a device to undercut the fret tangs so the new frets can overhang the neck binding, both if which can be purchased on eBay. Cutting a new nut can be tedious and fiddly especially if you don't have the right tools, but it may be possible to buy a ready-made one which will fit well enough.
I'm in the middle of two builds at the moment. The more sensible is a Tele with a neck humbucker, but I've realised the (cheap, second hand unfinished project off ebay) body is wrongly routed as nothing else fits. The neck pocket is too bid and off centre for a start... The neck is a custom order from Northwest Guitars, the pickups are an Iron Gear Overwound Foundry in the bridge and a cheap humbucker in the neck. Replacement body is coming soon from Northwest.
The second is a doubleneck FV kit from Amazon. Can't expect wonders for £205 for the whole lot, but the neck pockets need rerouting as the mounting face isn't flat and the pockets not deep enough. It's also ever so slightly unwieldy to play... Photos of both will follow when they make some progress.
The second is a doubleneck FV kit from Amazon. Can't expect wonders for £205 for the whole lot, but the neck pockets need rerouting as the mounting face isn't flat and the pockets not deep enough. It's also ever so slightly unwieldy to play... Photos of both will follow when they make some progress.
Have been thinking about building one myself for a while, especially as one of my guitar heroes, Steve Von Til plays one as his main guitar. His is made up of Warmoth parts with a Seymour Duncan Distortion in the bridge and a Bartolini S/C in the neck
That is a bit of an expensive option for me, but was thinking of something similar with a cheaper body and neck. Either that or something similar to the guitar Justin Broadrick used to play in Godflesh before he got into 8 strings
I'm just worried what I end up with will turn out pretty similar to the superstrats I already own!!
That is a bit of an expensive option for me, but was thinking of something similar with a cheaper body and neck. Either that or something similar to the guitar Justin Broadrick used to play in Godflesh before he got into 8 strings
I'm just worried what I end up with will turn out pretty similar to the superstrats I already own!!
Edited by JaymzDead on Monday 15th December 11:38
Here’s another recent project, a Chinese fake Fender Strat. This is actually a fantastic guitar – everyone who plays it loves it! I bought it for my tortoiseshell scratchplate, the one with all the clever circuitry on, then decided it needed a better guitar, so have now put the scratchplate aside until I can afford a real Fender, and the guitar's up for sale as part of my latest cull.
It’s in 60’s style so has a rosewood neck (with 22 frets in this case!) and 3-ply scratchplate held on by 11 screws. The tuners were fairly basic diecasts so I replaced them with these vintage-style ones. I then removed the neck and enlarged the mounting holes in the body. This is a job that frequently has to be done; the screws MUST pass through the body without gripping it – they should grip the neck ONLY, or it will never be held on properly. (I notice most new guitars need this, regardless of who made them.)
The scratchplate, complete with all controls and plastic parts, came from a Squier (replacing a flimsy pearloid one with very anaemic-looking white parts). Cast bridge saddles were thrown away and replaced by the period-correct steel ones with FENDER stamped on them. Pickups have been changed; I’ve no idea what these are, but I know they sound great! Finally, while the neck was off I levelled and reprofiled the frets and when it was reattached and the strings on, I also recut the nut (this is often too high even on quite expensive guitars). Relief, action and intonation have also been set up correctly. Strings are 10-46.
It does have an authentic 60’s-style logo on the head, together with a serial number on the back to say it was built in the USA in 2012 (it wasn’t!). As these photos are also on eBay, I edited these out, plus the ones on the headstock and neckplate, to avoid falling foul of the dreaded eBay Thought Police.
It even comes with a case, a tweed one with Fender on it!
It’s in 60’s style so has a rosewood neck (with 22 frets in this case!) and 3-ply scratchplate held on by 11 screws. The tuners were fairly basic diecasts so I replaced them with these vintage-style ones. I then removed the neck and enlarged the mounting holes in the body. This is a job that frequently has to be done; the screws MUST pass through the body without gripping it – they should grip the neck ONLY, or it will never be held on properly. (I notice most new guitars need this, regardless of who made them.)
The scratchplate, complete with all controls and plastic parts, came from a Squier (replacing a flimsy pearloid one with very anaemic-looking white parts). Cast bridge saddles were thrown away and replaced by the period-correct steel ones with FENDER stamped on them. Pickups have been changed; I’ve no idea what these are, but I know they sound great! Finally, while the neck was off I levelled and reprofiled the frets and when it was reattached and the strings on, I also recut the nut (this is often too high even on quite expensive guitars). Relief, action and intonation have also been set up correctly. Strings are 10-46.
It does have an authentic 60’s-style logo on the head, together with a serial number on the back to say it was built in the USA in 2012 (it wasn’t!). As these photos are also on eBay, I edited these out, plus the ones on the headstock and neckplate, to avoid falling foul of the dreaded eBay Thought Police.
It even comes with a case, a tweed one with Fender on it!
Edited by Evangelion on Friday 19th December 00:05
Edited by Evangelion on Friday 19th December 00:16
Disastrous said:
Well, my plans to make one were derailed slightly this week. A lovely early 90's (I think) Korean in Lite-Ash came up for sale at a good price so I had to grab it!
Can anyone point me at a good guide for setting up a three saddle tele?
Pretty sure the "lite ash" Tele was an early 2000s job, does it have Seymour Duncan pickups and a birds eye maple neck with green ish pearl inlays? Can anyone point me at a good guide for setting up a three saddle tele?
Seriously nice guitars, I nearly bought one about 8 years ago. Not seen one since! Good buy
Can't remember where I got this but it's bloody useful - the Jerry Donahue tuning method for three-saddle Telecasters:
Saddle Up Your Telecaster® - By Jerry Donahue
We asked "Bendmaster of the Telecaster" Jerry Donahue to share some of his secrets for setting up a Telecaster® bridge and keeping it properly intonated (Jerry demonstrates this technique in his clinics).
“Attention all current and would-be Tele® slingers! You needn't resort to six individual bridge saddles to improve your intonation. The original Broadcaster design called for three brass saddles: and that's still the best design today. The larger saddles mean more mass, providing greater output, sustain and tone. Also, with two strings per saddle, you have twice the string pressure against the body! [Editor's note: The Fender® Custom Shop Jerry Donahue model and "JD" Tele® use the three vintage brass saddles].
Now, on to intonation: Until fairly recently, I felt that a guitar couldn't really play in tune unless each string's 12th fret harmonic and 12th fret note had the exact same reading on the electric tuner. And of course, they never do on a three-saddle bridge. I finally settled on a technique that not only deals with this problem but, to my delight, addresses other inherent problems also. Here it is: Adjust the middle saddle's intonation screw so that the "D" string's 12th fret note reads slightly flat of the 12th fret harmonic on your tuner. Then, check out the "G" string's 12th fretted note. This note should be only MARGINALLY sharp of the harmonic. Are you with me? Now tune your guitar, with the open "G" string reading somewhere between A440 and A439 (so that the 12th FRETTED note is at A440). Tune the other strings as one would normally. Final adjusments can be made by ear when you compare first position E major and E minor chords. The E major's G# note (third string, 1st fret) should no longer seem sharp in the chord; and the open "G" string should still be perceptively in tune within the E minor chord.
Here's another for instance: An "A" chord barred at the fifth fret sounds fine. But when the nearest "E" is played (5th string, 7th fret/ 4th string, 6th fret/ 3rd string, 4th fret/ 2nd string, 5th fret), it typically sounds "off." The major third is the culprit (4th string, 6th fret): it typically sounds sharp. But with my adjus™ent (the 4th string's 12th fretted note being slightly flat) the problem no longer exists. There is a small margin of error here, which actually works to the guitarist's advantage!
OCCASIONALLY, depending on the gauge of your strings and the force of your picking hand, it might also serve you to marginally flatten the low E string. I do this as I use a 42 and like to hit it fairly hard sometimes. Trust your own ears, though, as each instrument tends to be different, too.
A final qualification in adopting all the aforementioned technique: A piano tuner may use an electronic tuner as a point of reference. But if he tuned the entire keyboard to be "perfect", it would sound awful. The bottom keys actually must be tuned sharp and the high ones tuned flat. This is the only way the human brain will perceive the piano to be in tune. It's essentially the same concept I've applied here to the Telecaster®. I really like this method. Once I adopted it, my Tele's® sounded noticeably more in tune than my Strats® (across all of the chord shapes) ... so I've since made the same adjustments to the Strats®!!
Remember, life is about compromise. Check it out!" - Jerry Donahue
Saddle Up Your Telecaster® - By Jerry Donahue
We asked "Bendmaster of the Telecaster" Jerry Donahue to share some of his secrets for setting up a Telecaster® bridge and keeping it properly intonated (Jerry demonstrates this technique in his clinics).
“Attention all current and would-be Tele® slingers! You needn't resort to six individual bridge saddles to improve your intonation. The original Broadcaster design called for three brass saddles: and that's still the best design today. The larger saddles mean more mass, providing greater output, sustain and tone. Also, with two strings per saddle, you have twice the string pressure against the body! [Editor's note: The Fender® Custom Shop Jerry Donahue model and "JD" Tele® use the three vintage brass saddles].
Now, on to intonation: Until fairly recently, I felt that a guitar couldn't really play in tune unless each string's 12th fret harmonic and 12th fret note had the exact same reading on the electric tuner. And of course, they never do on a three-saddle bridge. I finally settled on a technique that not only deals with this problem but, to my delight, addresses other inherent problems also. Here it is: Adjust the middle saddle's intonation screw so that the "D" string's 12th fret note reads slightly flat of the 12th fret harmonic on your tuner. Then, check out the "G" string's 12th fretted note. This note should be only MARGINALLY sharp of the harmonic. Are you with me? Now tune your guitar, with the open "G" string reading somewhere between A440 and A439 (so that the 12th FRETTED note is at A440). Tune the other strings as one would normally. Final adjusments can be made by ear when you compare first position E major and E minor chords. The E major's G# note (third string, 1st fret) should no longer seem sharp in the chord; and the open "G" string should still be perceptively in tune within the E minor chord.
Here's another for instance: An "A" chord barred at the fifth fret sounds fine. But when the nearest "E" is played (5th string, 7th fret/ 4th string, 6th fret/ 3rd string, 4th fret/ 2nd string, 5th fret), it typically sounds "off." The major third is the culprit (4th string, 6th fret): it typically sounds sharp. But with my adjus™ent (the 4th string's 12th fretted note being slightly flat) the problem no longer exists. There is a small margin of error here, which actually works to the guitarist's advantage!
OCCASIONALLY, depending on the gauge of your strings and the force of your picking hand, it might also serve you to marginally flatten the low E string. I do this as I use a 42 and like to hit it fairly hard sometimes. Trust your own ears, though, as each instrument tends to be different, too.
A final qualification in adopting all the aforementioned technique: A piano tuner may use an electronic tuner as a point of reference. But if he tuned the entire keyboard to be "perfect", it would sound awful. The bottom keys actually must be tuned sharp and the high ones tuned flat. This is the only way the human brain will perceive the piano to be in tune. It's essentially the same concept I've applied here to the Telecaster®. I really like this method. Once I adopted it, my Tele's® sounded noticeably more in tune than my Strats® (across all of the chord shapes) ... so I've since made the same adjustments to the Strats®!!
Remember, life is about compromise. Check it out!" - Jerry Donahue
BorkFactor said:
Disastrous said:
Well, my plans to make one were derailed slightly this week. A lovely early 90's (I think) Korean in Lite-Ash came up for sale at a good price so I had to grab it!
Can anyone point me at a good guide for setting up a three saddle tele?
Pretty sure the "lite ash" Tele was an early 2000s job, does it have Seymour Duncan pickups and a birds eye maple neck with green ish pearl inlays? Can anyone point me at a good guide for setting up a three saddle tele?
Seriously nice guitars, I nearly bought one about 8 years ago. Not seen one since! Good buy
I'm really impressed with it so far. I'm struggling a bit to set the neck and action though. Fender's guideline action heights (as in fret to string) result in loads of buzz and strings choking out on a bend when playing up high. I've adjusted it to sound but the action still seems very high, like as high as my Gretsch hollowbody. My SG is maybe twice as low with no rattles but the neck seems fairly flat (to my eyes).
Is that a Tele thing? I don't know them well as guitars...
Evangelion said:
Can't remember where I got this but it's bloody useful - the Jerry Donahue tuning method for three-saddle Telecasters:
Saddle Up Your Telecaster® - By Jerry Donahue
We asked "Bendmaster of the Telecaster" Jerry Donahue to share some of his secrets for setting up a Telecaster® bridge and keeping it properly intonated (Jerry demonstrates this technique in his clinics).
“Attention all current and would-be Tele® slingers! You needn't resort to six individual bridge saddles to improve your intonation. The original Broadcaster design called for three brass saddles: and that's still the best design today. The larger saddles mean more mass, providing greater output, sustain and tone. Also, with two strings per saddle, you have twice the string pressure against the body! [Editor's note: The Fender® Custom Shop Jerry Donahue model and "JD" Tele® use the three vintage brass saddles].
Now, on to intonation: Until fairly recently, I felt that a guitar couldn't really play in tune unless each string's 12th fret harmonic and 12th fret note had the exact same reading on the electric tuner. And of course, they never do on a three-saddle bridge. I finally settled on a technique that not only deals with this problem but, to my delight, addresses other inherent problems also. Here it is: Adjust the middle saddle's intonation screw so that the "D" string's 12th fret note reads slightly flat of the 12th fret harmonic on your tuner. Then, check out the "G" string's 12th fretted note. This note should be only MARGINALLY sharp of the harmonic. Are you with me? Now tune your guitar, with the open "G" string reading somewhere between A440 and A439 (so that the 12th FRETTED note is at A440). Tune the other strings as one would normally. Final adjusments can be made by ear when you compare first position E major and E minor chords. The E major's G# note (third string, 1st fret) should no longer seem sharp in the chord; and the open "G" string should still be perceptively in tune within the E minor chord.
Here's another for instance: An "A" chord barred at the fifth fret sounds fine. But when the nearest "E" is played (5th string, 7th fret/ 4th string, 6th fret/ 3rd string, 4th fret/ 2nd string, 5th fret), it typically sounds "off." The major third is the culprit (4th string, 6th fret): it typically sounds sharp. But with my adjus™ent (the 4th string's 12th fretted note being slightly flat) the problem no longer exists. There is a small margin of error here, which actually works to the guitarist's advantage!
OCCASIONALLY, depending on the gauge of your strings and the force of your picking hand, it might also serve you to marginally flatten the low E string. I do this as I use a 42 and like to hit it fairly hard sometimes. Trust your own ears, though, as each instrument tends to be different, too.
A final qualification in adopting all the aforementioned technique: A piano tuner may use an electronic tuner as a point of reference. But if he tuned the entire keyboard to be "perfect", it would sound awful. The bottom keys actually must be tuned sharp and the high ones tuned flat. This is the only way the human brain will perceive the piano to be in tune. It's essentially the same concept I've applied here to the Telecaster®. I really like this method. Once I adopted it, my Tele's® sounded noticeably more in tune than my Strats® (across all of the chord shapes) ... so I've since made the same adjustments to the Strats®!!
Remember, life is about compromise. Check it out!" - Jerry Donahue
I like that - thanks!Saddle Up Your Telecaster® - By Jerry Donahue
We asked "Bendmaster of the Telecaster" Jerry Donahue to share some of his secrets for setting up a Telecaster® bridge and keeping it properly intonated (Jerry demonstrates this technique in his clinics).
“Attention all current and would-be Tele® slingers! You needn't resort to six individual bridge saddles to improve your intonation. The original Broadcaster design called for three brass saddles: and that's still the best design today. The larger saddles mean more mass, providing greater output, sustain and tone. Also, with two strings per saddle, you have twice the string pressure against the body! [Editor's note: The Fender® Custom Shop Jerry Donahue model and "JD" Tele® use the three vintage brass saddles].
Now, on to intonation: Until fairly recently, I felt that a guitar couldn't really play in tune unless each string's 12th fret harmonic and 12th fret note had the exact same reading on the electric tuner. And of course, they never do on a three-saddle bridge. I finally settled on a technique that not only deals with this problem but, to my delight, addresses other inherent problems also. Here it is: Adjust the middle saddle's intonation screw so that the "D" string's 12th fret note reads slightly flat of the 12th fret harmonic on your tuner. Then, check out the "G" string's 12th fretted note. This note should be only MARGINALLY sharp of the harmonic. Are you with me? Now tune your guitar, with the open "G" string reading somewhere between A440 and A439 (so that the 12th FRETTED note is at A440). Tune the other strings as one would normally. Final adjusments can be made by ear when you compare first position E major and E minor chords. The E major's G# note (third string, 1st fret) should no longer seem sharp in the chord; and the open "G" string should still be perceptively in tune within the E minor chord.
Here's another for instance: An "A" chord barred at the fifth fret sounds fine. But when the nearest "E" is played (5th string, 7th fret/ 4th string, 6th fret/ 3rd string, 4th fret/ 2nd string, 5th fret), it typically sounds "off." The major third is the culprit (4th string, 6th fret): it typically sounds sharp. But with my adjus™ent (the 4th string's 12th fretted note being slightly flat) the problem no longer exists. There is a small margin of error here, which actually works to the guitarist's advantage!
OCCASIONALLY, depending on the gauge of your strings and the force of your picking hand, it might also serve you to marginally flatten the low E string. I do this as I use a 42 and like to hit it fairly hard sometimes. Trust your own ears, though, as each instrument tends to be different, too.
A final qualification in adopting all the aforementioned technique: A piano tuner may use an electronic tuner as a point of reference. But if he tuned the entire keyboard to be "perfect", it would sound awful. The bottom keys actually must be tuned sharp and the high ones tuned flat. This is the only way the human brain will perceive the piano to be in tune. It's essentially the same concept I've applied here to the Telecaster®. I really like this method. Once I adopted it, my Tele's® sounded noticeably more in tune than my Strats® (across all of the chord shapes) ... so I've since made the same adjustments to the Strats®!!
Remember, life is about compromise. Check it out!" - Jerry Donahue
In fairness, I'm ok with it not sounding 'perfect' as I think the intonation is what gives the tele such a distinctive sound. That sort of 'clang' when you hit a chord that cuts through a song. It maybe sounds weird but I found when I tuned mine up, it sounded a bit 'wrong' somehow, right up until I hit the opening bars of Glory Days or knocked out a couple of Stones licks. Suddenly: there you go, that's how you get that sound!
So I guess they're meant to be a bit out.
Disastrous said:
Yeah, that's the one! You think it's a later model then? The Fender serial number page won't liad for me so no clue really...
I'm really impressed with it so far. I'm struggling a bit to set the neck and action though. Fender's guideline action heights (as in fret to string) result in loads of buzz and strings choking out on a bend when playing up high. I've adjusted it to sound but the action still seems very high, like as high as my Gretsch hollowbody. My SG is maybe twice as low with no rattles but the neck seems fairly flat (to my eyes).
Is that a Tele thing? I don't know them well as guitars...
According to this they were made from 2004 - 2009: I'm really impressed with it so far. I'm struggling a bit to set the neck and action though. Fender's guideline action heights (as in fret to string) result in loads of buzz and strings choking out on a bend when playing up high. I've adjusted it to sound but the action still seems very high, like as high as my Gretsch hollowbody. My SG is maybe twice as low with no rattles but the neck seems fairly flat (to my eyes).
Is that a Tele thing? I don't know them well as guitars...
https://www.sweetwater.com/forums/showthread.php?2...
(4th post down)
I remember playing a lovely natural one in a local guitar shop extensively, they are really nice.
I haven't owned a Tele with the 3 saddle bridge, my American Standard has the 6 saddle one which may be getting replaced soon as they don't sound as good. It can have a nice low action on it, probably a tad lower than my Les Paul. I prefer to set the Tele up a bit higher as I think it gives a brighter sound and you can get that "twang" out of the bridge pickup.
Any photos of your one?
t iPhone snap but will get some proper ones taken soon and post them:
Disastrous said:
I'm really impressed with it so far. I'm struggling a bit to set the neck and action though. Fender's guideline action heights (as in fret to string) result in loads of buzz and strings choking out on a bend when playing up high. I've adjusted it to sound but the action still seems very high, like as high as my Gretsch hollowbody. My SG is maybe twice as low with no rattles but the neck seems fairly flat (to my eyes).
Is that a Tele thing? I don't know them well as guitars...
Teles usually have either 7.25" or 9.5" radius on the fretboard, whereas Gretsch, Gibson etc tend to be 12" radius (although my recent SG is 10"). So there's a bigger 'hump' for strings to choke on in Fender guitars. But it shouldn't really be a problem, so first thing I would check is that the neck is straight, truss rod might well be too tight or too loose (more likely the former in your case).Is that a Tele thing? I don't know them well as guitars...
Easy and quick way to check is to hold down the G string between the nut and the first fret, and between the top 2 frets. There should be a barely visible gap between the string and the 8th fret. Check that when you move up one fret at either end the pitch of the string, when plucked, goes up (if it doesn't the truss rod is too tight). Bit fiddly to do, but it's a good way of diagnosing truss rod problems.
singlecoil said:
Disastrous said:
I'm really impressed with it so far. I'm struggling a bit to set the neck and action though. Fender's guideline action heights (as in fret to string) result in loads of buzz and strings choking out on a bend when playing up high. I've adjusted it to sound but the action still seems very high, like as high as my Gretsch hollowbody. My SG is maybe twice as low with no rattles but the neck seems fairly flat (to my eyes).
Is that a Tele thing? I don't know them well as guitars...
Teles usually have either 7.25" or 9.5" radius on the fretboard, whereas Gretsch, Gibson etc tend to be 12" radius (although my recent SG is 10"). So there's a bigger 'hump' for strings to choke on in Fender guitars. But it shouldn't really be a problem, so first thing I would check is that the neck is straight, truss rod might well be too tight or too loose (more likely the former in your case).Is that a Tele thing? I don't know them well as guitars...
Easy and quick way to check is to hold down the G string between the nut and the first fret, and between the top 2 frets. There should be a barely visible gap between the string and the 8th fret. Check that when you move up one fret at either end the pitch of the string, when plucked, goes up (if it doesn't the truss rod is too tight). Bit fiddly to do, but it's a good way of diagnosing truss rod problems.
I'd sort of reasonably assured myself the neck was ok by eye and then using the test as above (though I did capo first fret and fretted 22nd fret based on an online article) and adjusting the action to what looked good by sight created a buzzy noise. I'd say it's a hair over 2mm at the 17th fret now, which seems high, and comparable to the Gretsch, which is set high. I believe Fender recommend about 1.5mm so slightly puzzled but I'm not hot with truss rods so maybe it is that...
Sighting along a neck is tricky because the edges are naturally curved, because the neck is tapered but the radius is constant. But it sound like your truss might be too tight as that would in itself form a hump that the strings would choke on.
The moving up one fret is a good way of catching this problem because quite often there will be some clearance near the middle, but the neck may still be humped elsewhere.
Is the choking progressive, is it worse anywhere in particular?
as that would in itself form a hump that the strings would choke on.The moving up one fret is a good way of catching this problem because quite often there will be some clearance near the middle, but the neck may still be humped elsewhere.
Is the choking progressive, is it worse anywhere in particular?
It was localised to the two highest strings, from about 12th fret upwards.
That said, that saddle was set much lower so by adjusting the saddles to broadly match the profile of the neck, it's fine.
But high.
If I take the action down it runs it trouble so it may be that it's got a hump at the body end. I'll investigate when I'm home but I actually tightened it a bit as I felt there was a touch too much bow too it but perhaps I was wrong...
That said, that saddle was set much lower so by adjusting the saddles to broadly match the profile of the neck, it's fine.
But high.
If I take the action down it runs it trouble so it may be that it's got a hump at the body end. I'll investigate when I'm home but I actually tightened it a bit as I felt there was a touch too much bow too it but perhaps I was wrong...
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