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If thats the case, you've clearly made up your mind about buying a halfstack so why was this even brought up for discussion? lol
really, you can do as you like but I just see stacks as impractical.

Quote by Jason Jillard
but if its beaten to hell AND sounds good. then that makes it even cooler.

Thats very true.
Quote by zakkwyldefan79
I already have a 2x12 and a 4x12 is only 3 decibels louder (which is very little), but looks alot cooler. Like I said, I don't need it, I just WANT it. I do jam with friends, including a drummer, sometimes and usually play 2 or 3 small shows (parties) a year.


I really wanted a stack a while ago, thought it was Br00talz and all but then I realized a few things.

1. a single 4x12 cabinet is larger than you think when put in a bedroom, let alone a full stack.
2. Your neighbors will hate you, guaranteed
3. A 4x12 will not make you sound any better, it will not improve your tone any, it will just get slightly bassier.
4. Looking cool is not what you should worry about with an amp. If it sounds good and isn't beaten to hell, it should be fine.

I've moved past that and I've settled for a nice Mesa/Boogie combo that I'm actually picking up in a few days.
thats a gorgeous fretboard
That is MOSTLY correct, but there is no ground jumper connecting the pot casings of the middle or bridge pots. with no ground connection, there is nowhere for the pot to shunt to giving no change. Wire it using that exact diagram, but wire an additional wire from the back of the neck pot to the back of the middle pot, and do the same for the bridge pot. that way, the pot will shunt volume to ground when turned. Also, for wiring questions like this, please refer to the Ultimate Wiring Thread.
Here's a diagram I just made, this should be more explanatory.
I would only turn it on once you've plugged it in just to be safe, but it really shouldn't matter. You could wire a SPST toggle switch in the pedal between the middle jack lug and the 9V jack to feel safe if you want.
That diagram is rather convoluted, but from what I understand, you want to run 9V in addition to the guitar signal through the cable. I designed a two part system to do this with just a common stereo cable, no need for XLR or other non guitar common cables. I'll go grab my diagrams.

Diagrams are pretty self explanatory. Just for this case, disregard the 9V jack in the guitar diagram.

I was thinking about stacking a 5 string EMG bass humbucker and a 7 string EMG guitar humbucker (or whichever have the same housing) with the bass closer to the bridge to get a good balance. I was also thinking, maybe a 2 or 3 band active onboard EQ to help with tone shaping? Carbon Fiber rod is a good idea, would I just stick it between the two rods in its own little channel? Lastly, how do you guys think a piezo pickup would sound in the body of a stick? has this been done before?
I don't know much about Q-Tuners but I'll give them a listen when I get some time. I was thinking EMG's would be the most practical due to their identical bass and guitar sized pickups so I could stack them like P-Bass pickups, but I don't want a lifeless sound so I'm still searching. I'm finalizing my design and specs to have ready-to-go when I get time to start the build. Last thing I'm trying to figure out is the bridge. I'm not going to shell out for a real stick bridge so I'm going to have to make do with what I can find. I was thinking to stick a guitar hipshot next to a bass hipshot and go from there, or I could buy individual saddles and make my own bridge. Opinions?
maybe look into a 50W JCM800 combo? 100W isn't really necessary. The Bugera 1990 might also be something to look into, its a good JCM900 clone. A friend of mine just got one and its a great amp, quite a bit of gain.
"My guitar is strung with the veins of orphans" - Various dumbasses
Quote by Beefyfrog
Didn't Tony Iommi used banjo strings ?


I don't think so, you'd end up with the same problem anyway.
Thanks, I figured I'd end up having to use 2 truss rods, I'm just a little scared of them not being parallel and breaking the fretboard or even just getting really off intonation and action.

I was thinking a 7 or 9 piece laminate of figured maple, walnut and ebony arranged Maple/Walnut/Maple/Ebony/Maple/Ebony/Maple/Walnut/Maple (or 7 pc without the outer Maple laminates). those seem to be strong enough woods but I'd like opinions.
Projectguitar.com is a great resource

http://projectguitar.com/tut/tutorial5.htm
This is the finishing/refinishing tutorial section, there should be what you want in there.
For those who don't know what the hell I'm talking about


Hey, first off I want to say that this will not be happening immediately (if ever), more likely to be started mid summer if I get enough shop time and my other planned build underway. I have some questions regarding this build that I'd be happy to have answered so here goes:

1. What would a standard/optimal scale length be for a deluxe (12 string) stick be?

2. What truss rod would you recommend that would be strong enough to take the tension and still be very finely adjustable?

3. What would be the optimal choice/combination and arrangement of guitar pickups to satisfy the lowest bass strings and the highest treble strings?

4. What woods would be best for the construction of a stick? I figure I can use the same woods used for guitar necks, I'm just worried about the ridiculous amount of tension created by 12 individual strings. This I suppose is rectified by the truss rod though.

more to come, guaranteed.
Tony Iommi used filed down strings to make it easier for his wax fingertips to grasp the string without damaging the tips like regular strings would.
you could grab a 6 band to use as a solo boost, great tonal shaping range and boosting capability without having to buy a second 10 band.
I think it boils down to how much you'd use the parallel output. If you like the idea of running a aforementioned stereo amps or wet/dry, I think its justified, but if you really can't see yourself being in a situation to warrant the extra 40 and output, go for the original 10.
I'd look into using either an A/B/Y in conjunction with a signal merger, or some sort of external effects loop with a "Y" function if you can find one. I wanted to do this a while ago and came up short on results (might be different now) is I figured the best way would be to build something to do it.

This is a diagram I drew up a while ago for this purpose. Its easy to build and all you need is 3 mono jacks and a blend pot. you plug in the two outputs from the A/B/Y pedal to the two outputs (doesn't matter which, just remember whats what) and connect your amp to the single jack on the right. setting the pot in the middle detent gives a equal blend and turning the pot to either side gives more of one input until it maxes out that input. To set it up in your case, put your signal chain between this pedal and one of the outputs of the A/B/Y so you can have a clean channel and a dirty channel going into the blend pedal.

I know its overpriced but I believe I can grab one for cheaper. I'm leaning more towards the Roadking more and more even though its twice as much as the other Mark III I found. $1100 is definitely too much now that I've done more comparing.
Its a great pedal, but its kinda overkill if you aren't a tone freak, 6 Band EQ seems sufficient for me. The Kerry King signature 10 band IMO is worth buying though since it gives you two outputs in parallel so you can run stereo amps or a wet/dry or anything you can think of doing with two outputs.
If I were to find a cheaper Mark III, would it be better to grab that instead? I've heard from many people that its a more organic tone and worth not having all the bells and whistles of the Roadster/Roadking Recs.
Thanks, thats what I thought but I wanted to make sure. I'd still like opinions on the series 1 Roadking preferably from owners or extensive users.
I've been in search of a nice Mesa all tube amp for a long time, and now I found two.

1st: Mesa Roadking 2x12 gen 1 for $1600
2nd: Mesa Mark III 1x12 for $1100
They're both in great condition so thats not a factor, new tubes, no tolex tears. I'd like to grab the Roadking since it has all the tones and features I've been looking for for a long time, but the thing is that it seems too low for a Roadking even if its a gen 1 (gen 2 are $2700 new). It just seems sketchy is all. The Mark III is a fantastic amp, but I've seen heads go for $800 so I don't know if an extra $300 is worth the 1, 12in speaker and the additional weight.

Boiled down: Gen 1 Roadking 2x12 for $1600, good deal or catch?, Mark III 1x12 for $1100, too much for a single 12in? (I think so)
well considering the dowels are 1" and bolted on, its strong enough for me.
sounds like either a bad connection or you switched around wires somewhere, go back and gently touch each wire to make sure nothing came loose in installation, then recheck your wiring diagram against your guitar and account for color coding of the specific brand of pickup you installed. good luck!
I just built one out of two sheets of plywood and 3 dowels. I'll grab a pic.

I'd clean it and polish/buff it first to see if it helps, if it doesn't then you can strip it and put a matte finish on there or oil the neck and leave it.
I personally like the purple/white idea. If you want good tutorials for any part of your project, go to projectguitar.com they have lots of good info for everything from filling the cavities to routing for the humbucker and binding.
Yeah, good call with grounding the coil split, I missed that one. The pickups are DiMarzios but the color coding is the common duncan one since thats what the colors are in the diagrams I used as reference. I can always swap colors when I'm done, I just want to know how I would wire the coil splits as being the outer coils activated, not both north coils or both south coils.
Alright, I believe this is my final draft. Let me outline it so those of you who are better at this then me can make sure everything is good before it gets done. So:

Neck volume taps neck pickup, activating the outer coil only.
Bridge volume taps bridge pickup, activating the outer coil only.
Neck tone is blank for now, will add a solo switch or something later.
Piezo volume switch selects for:
down = magnetic on, piezo grounded
up = magnetic grounded, piezo on.


I'd apply it over everything to hold it all together and give a smooth layer across, I don't really know though. I haven't poly'd anything, I focus more on the woodworking aspect of luthiery.
http://www.instructables.com/id/Make-A-Talkbox/

Google is your friend, Instrucatables.com is your best friend.
Alright, I don't know if my coil splitting is wired correctly, but my objective is to have the outer coils active when tapped and in phase and parallel with each other when in the middle switch position. Disregard my previous diagram, just please tell me if this diagram does what I says it should do.

I've abandoned the BFR tone pot idea, but that now leaves me with one empty push/pull. I'm considering a series/parallel switch, but which pickup?

-Wiring pic removed as it is no longer up to date-
I'm working on twin 7 string builds and I'm still in the planning stage and wiring is the next step. I will not be doing the wiring, but I'm creating the diagram so whoever does wire it, gets it right. I'm running into a problem with the second listed option though:

"Tone knob selects between 1+2 & 3+4 or 2&3"

This refers to the coils of the humbuckers 1 - 4 left to right. I left the tone pot push/pull untouched as I don't know how to wire it, but I'm pretty sure the rest is correct. Could anyone look it over just in case?

I don't think I made myself clear, I want to wire the tone push/pull EXACTLY like the tone push/pull on a EBMM JP BFR. I hope that helps?



-Wiring pic removed as it is no longer up to date-

Imma be starting twin builds based on Agile guitars, and I was wondering if anyone had the exact dimensions or a template of an Agile Interceptor 727 Body and Intrepid 828 Body.

The crunch sounded fantastic, but yeah agree with the others, let some more bass in!

This is one of those builds that looks like hell and chaos until the end where an absolutely gorgeous guitar emerges and wins GOTM.