Looks like a tune-o-matic bridge with large posts. Fender is calling it an adjust-o-matic, but it looks identical to the bridges made to fit Epiphones. Maybe check the measurements against the ones at Stewmac:
You can get conversion bushings that go from 9-10mm etc. Grover mini Rotomatics should be substantially lighter and they're 10mm.
Avoid Eden necks. I had a Telecaster neck that warped, and I've read that other people have had the same problem. They're pretty low quality anyways.

Stew-Mac and Mighty Mite are the only ones that I can think of with a decent reputation and cheaper than Warmoth.

For figured tops, check out
And if you're looking for domestic hardwoods, check with local cabinet shops and custom furniture shops. They sometimes have remnants of hickory, ash, walnut etc. that's too small for their work.
I recently went from V30s to WGS Reapers and Invaders (both greenback style speakers) for my doom rig. I couldn't be happier. V30s are fantastic speakers for all kinds of heavy music, but for Sleep etc. I highly recommend greenbacks or similar. All of the things that make V30s great for modern metal are exactly the things you don't want for doom and stoner fuzz tones. They're really tight and responsive with plenty of top end. If you're concerned about the treble strings being too piercing, go with greenbacks.

Classic 30 for $300? I really don't like the DSL401. It is not at all like the other DSL models. I had one for about a week, and it was just a buzzy little box of gross.

There's also this Fender Deluxe at $425:

And an Egnater Rebel 20 for $475:
Wow, those are some very nice looking guitars. I love the spalted figuring. I found a site selling some amazing spalted pecan 1/4" tops and now I've lost the address.

I've been rethinking my plan to do a neck-through first, though. With the hickory, walnut and maple laminate that I've got on the way, I'm going to end up with something that is roughly 3"x5"x24". That's plenty for at least two necks, right? Maybe even three if I can cut it cleanly enough. So I think I'll cut it into two necks: a bolt-on for my existing guitar and a set neck for the complete build.

Given the flying V's wonky dimensions, it looks like a one-piece body is out of the question. Out of curiosity, ever seen a one-piece V? It may be easiest just to do a three piece, with around an 8" center piece and the rest of the wings glued on to that. 8" slices give me much more to choose from as far as body woods go. Also, I think I can get away with doing all of the "routing" with a drill before jointing (other than the back control cavity). Just have to measure and plan carefully.
Fretboard blanks are here, along with some samples of other woods. I am going to have to try a canarywood fretboard for a future build. The grain on that one seems like it would be very comfortable.

Also in the mail, something to listen to while I finish up the workbench.
One of the guys from ASH just called and says he can do 40" pieces of the same stuff no problem. I went ahead and ordered 24" stuff for a warm up. I've got a bolt-on V that I've been fixing up, and I should be able to get two necks out of this. They're looking into a 1/4" one piece top and then I'll get the 40" wood ordered.

For now, I'm off to the local lumberyard to build a crude workbench.
I just placed an order at for some hickory, walnut and a couple kinds of baked maple. Unfortunately, they don't normally carry this stuff long enough for a neck through. I sent them an email to see if they can get me the same stuff in 37"-38" boards. This order is going to be a practice run, building a laminated bolt-on for another guitar. I'll post pictures soon as the fretboard blanks should be here Monday from I'm excited to get to work.
My idea is actually to play the symmetrical body shape against an asymmetrical grain pattern or color scheme. To that end, I was leaning toward a one piece top without bookmatching. I'd like to find something with a grain that kind of looks off-kilter or swirls unevenly. Then do something similar with the neck laminate. The overall effect being a body that's totally straight and evenly proportioned, but all of the wood grain just kind of crashes through and wrecks everything. If that makes any sense.

I do like the idea of using wood stain though. I'm guessing I could do each piece of the neck individually before joining them, right? I'd really like to stick to at least natural looking tones, but maybe I could just put a heavy tint on one or two of the pieces.

I've also heard similar concerns with oak, so I'll avoid that for the neck. If I found some 1 1/2" oak that's been thoroughly dried could I still use it for the body wings? I'm about to make the rounds and see what's available. My first choice would probably still be maple or walnut.
Tonerider pickups sound great and they're still fairly cheap. They've gone up quite a bit since my last order. If you're looking for a bright rock tone, though, I second the GFS p90 recommendation.

You could also get a set of Grover tuners if the stock tuning machines have trouble staying in tune. If you don't care for the way the neck finish feels, or just want to try something different you could try the steel wool trick. Run a really fine abrasive along the back of the neck to get a smooth satin finish. New tone caps were mentioned, and that's practically a free mod that can make a big difference to your sound. Pick up a few cheap caps between around .0047 to .047 and see which one works best for you.

Depending on how the fretboard feels, you might look into cleaning up the fret edges. If it's a rosewood fretboard you can condition it with lemon oil to make it feel much better to play.
I overlooked the routing. Thanks for pointing that out. Since I'm doing a neck-thru, the wings could be cut from a smaller piece of 1 1/2" maple. Then I just need to find a sheet of 1/4" with the kind of figuring I'm looking for. That's why I was leaning toward veneers, but maybe I can find something.

As for the neck, I was planning to do a 5-piece maple/walnut/maple/walnut/maple. Now I'm kind of wanting to continue the asymmetrical grain idea by doing an even number laminate. Something that goes from much darker to lighter from one side to the other. Before I was worried that the strength/rigidity of the neck needed to be balanced from E to e. Then I started thinking that string tension isn't even balanced from E to e to begin with. Maybe I could get away with it as long as the materials are quality. I'm also planning to stick with alternating flat/quarter or even flat/rift sawn, which should lend some stability.

For the neck woods, I really like maple and walnut, but I'm going to go around to the local lumber yards and see what is available. I'm also considering hickory, oak and ash. I know hickory and oak aren't very traditional guitar woods, but it seems like they should be plenty strong enough in a laminate. If they can be used in golf clubs, baseball bats and axe handles, they should do well here, right?

I'm planning on going with one of Warmoth's dual action truss-rods. I've heard good things, but if anybody knows of anything better I'm listening. Also, depending on what I end up doing for the top wood, I'm starting to like the idea of all brass (or at least brass colored) hardware.
I'm going to attempt my first build soon, using almost exclusively hand tools. Tentative specs:
-huge neck profile, probably asymmetrical
-roughly 1 3/4" body, Gibson Flying V shape, possibly an altered neck joint
-neck through or possibly set-neck (fret access is a priority)
-probably a 5-piece laminate neck, I like maple and walnut, but open to suggestions
-not yet sure about body wood or construction, something hard and heavy to balance out the massive neck - maybe oak, walnut or maple?
-a big, symmetrical headstock, maybe typical open-book, but I'm leaning away from traditional flying V headstock
-figured veneers/top on headstock and body
-all chrome, string-through, T.O.M., Seth Lover pickups, simulated bone nut of some kind, some classy 3+3 tuners
-probably matte-clear finish, maybe gloss or oil

With regard to the neck, I'm looking for stability and reliability first. I really don't like the tendency of some necks to throw things out of tune when playing aggressively. Quarter sawn has a good reputation for necks, but if I'm doing a laminate should I alternate quarter and flat sawn? I'm thinking maple and walnut laminate, but would a couple strips of quarter-sawn oak sandwiched between maple work?

I want to do some veneers that will break up the symmetry of the rest of the design. No bookmatching. If I can find a one-piece veneer or top to fit the body, that'd be great. I want something that looks kind of funky and off-balance, not typical quilted or flamed maple stuff. Suggestions for finding something out of the ordinary with some interesting movement to it?

For the body wood, job 1 is counterbalancing that neck. I don't really buy into tonewoods, and I'd rather not pay a premium for the traditional stuff. If there's something heavy, stable, domestic (US) and cheap that's perfect. Tree frogs don't need to die for my tone.

I'm still setting up my toolkit, but in the meantime I roughed out a sketch with approximate dimensions. I won't be using this as a template or anything (got a V blueprint coming...fingers crossed it isn't totally wrong). This is just to help me visualize and figure out what dimensions of lumber I'm going to need. I need to design the headstock and get a better idea of the neck profile. Right now, I like the idea of an assymetrical profile that's fatter at the top and moves toward a v-neck at the nut side. I'll be shaping the neck with drawknifes, planes and chisels.

I've cut up cereal boxes for those several times. There's usually no harm in bending the spring terminals a bit for a more permanent solution. You just want to be careful not to go too far.
I just ordered a bunch of blanks from for practice. I got several small pieces of rosewood to try my tools out on, and a few fretboard blanks. The fretboard blanks are about 3" wide, so I'll need to trim them down quite a bit and radius them. I'm not sure if I can get a straight enough cut with a hand saw. If not, I'll probably take them to a friends house and get them roughly the right size with a table saw.

edit: I've been looking it over, and I see no real reason I couldn't build a Flying V or an Explorer from scratch if I have the setup to do fretwork and inlays. Depending on how the fretwork goes, I'll probably be attempting that soon.
Quote by Fisheth24
Has anyone cleaned any fretboards with Ebony on them? really unsure of what to use them with!

I've never owned an ebony fretboard, so I'm not 100% sure. I do remember reading that some of the more recent ones have been dyed to look darker. I think even Gibson is doing this now, because the really dark ebony is getting harder to find. I'm not sure what you would use that wouldn't risk the dye running, though.
I lucked out there. I'm on the top floor in a corner, so I only have the neighbor below my bedroom to worry about as far as noise. I've only rarely heard them closing doors and walking around, but it could be worse from my apartment to theirs. I guess the big constraint is space.
I've been wanting to experiment with custom inlay and refretting work, and I'm wondering what the essential tool kit looks like. I'm somewhat limited by my budget, but the biggest factor is my workspace. Table saws, routers and such are pretty much out of the question due to space and noise restrictions.

I've just found a lightly used Dremel 4000 and matching rotary workstation on Craigslist at a steal. I'm thinking:

-Dremel 4000
-hand saws (pull saw, miter saw/miter box)
-some triangular files, round files
-a good, level aluminum sanding block + a variety of grit paper
-accurate straight edge, calipers, square, level
-clamps and a table vise (to bolt to my ikea desk)
-lots of cheap practice wood and fretboards
-a basic set of chisels and a hobby knife

So, is it possible to teach myself to do a serviceable job with the above equipment? Can I at least get a decent fret level and crown? Am I missing anything essential? Also, is the Dremel at all useful in place of a real router? i.e. can it give me a flat and level inlay rout if I go slow?

Thanks very much for any input you can provide.

edit: just realized I left these out:

-small dead blow hammer
-end nippers (worth getting the stew mac, or just go harbor freight?)
-soldering station (already got this covered)
If anything, it'll sound a bit more like a neck pickup. The more you overwind a pickup, the hotter it gets and the more treble is lost. Bridge pickups in matched sets are wound hotter because the string energy is lower the closer you get to the bridge. Many sets are also designed so that the neck pickup is more receptive to treble since there's not as much available in that position.

So if you took a matched set of strat pickups and reversed them, rather than getting a neck pickup that sounds like a bridge and vice versa, you'd get even more contrast. The bridge pickup would sound really bright and the neck really bass heavy. The output levels wouldn't be very well matched either.

This only really applies when you're trying to balance a set of pickups with each other. If you're mixing and matching, you can put anything in any position. You just want to consider the effect that position will have on that pickup and how to balance it with your other pickup choices.

So for this one, if you're going with a fairly vintage wind (maybe even medium output) fat 50 in the neck, you may want to balance it out with a medium to high output bridge pickup. personally, I love the SD Quarter Pounder as a Strat bridge.
Thinking about buying a Dremel 4000 plus the rotary workstation. Someone is selling both practically new on the local CL at a fair price. How handy is this thing for inlay work? I've never done anything of the sort before, and I'd like to get into it. Starting with custom truss rod covers and other things i can throw away if I screw up. I live in a small apartment, so this would pretty much be my only power tool. Everything else done with hand chisels, saws and files etc. So, can this do light duty routing with fairly level results?
Quote by JamSessionFreak
is it hard to fry them the right way?

Hash browns are pretty easy. You'll probably end up with something edible the first time. I still haven't figured out how to get latkes to turn out.
You could use a couple of 8 ohm speakers in parallel to get them to 4 ohms. The old Fender Champs had 3.2ohm speakers, and it's pretty common practice to replace them with a single 4ohm speaker. Ted Weber has several small 4 ohm speakers that would work. Personally, I'd be tempted to rout it out to put at least an 8" or 10" speaker in there.

Those are some funky tubes, though. That's good and bad, because the demand is much lower for them but they could be hard to find. If you can find them, they should be cheap. (old stock is going to be your only option with these)

The hum could be one of the tubes, but I'm thinking it probably just needs a recap. Sitting that long without being powered up has probably dried up any of the electrolytic caps. That's a pretty cheap job and the parts are standard. If you are confident with a soldering iron you could DIY. A good amp tech should be able to recap it for you otherwise.
Quote by dannyalcatraz
Or fill...

Exactly. You don't want to have to ship an empty hard case somewhere. Best just buy a few Les Pauls.

I just got this in the mail. For my purposes it should do nicely. It is super light and portable, with handles everywhere. It even has a decent amount of storage in the front pockets. They expand so you can cram cables and even stompboxes in there. My EB wah and russian big muff were close. I think I could get one of them in the larger pocket, but not without messing with the guitar strings and finish. Padding is pretty minimal, so I don't want to think about dropping it. It will keep the guitar from getting scratched up on the bus, though. The stitching where the pockets are attached is kind of rough, so I wouldn't put something in there with a really nice/delicate finish I'll probably cut a piece of cloth to go over that anyways. For $30 shipped it is really well made. Definitely recommend it to anyone needing to get around town with a V that isn't wall art.
It's not a very common setup, so you may have better luck emailing Fernandes directly.

From what I've read, you can use it in a SSH guitar, but the sustainer will only work properly with the bridge pickup. The neck driver isn't actually a guitar pickup in the traditional sense. Somehow or other it works in conjunction with the bridge pickup to create a feedback loop. That's where the infinite sustain comes from. According to the site, this only works properly when the driver and the pickup are at least 2" apart.

So when it says that the Fernandes bridge pickup is optional, it means that you can use the driver(Fernandes neck pickup) with any other pickup, as long as they have some space between them. You can still have a middle pickup to switch to, but you'll probably want to wire it so that the sustainer only works on the bridge setting.
The OR15H is awesome. I was considering downsizing from my 0R80 when I moved a few months ago, and that would have been my first choice. I decided against it, but it had nothing to do with the quality or performance of the 15. I'm just too attached to my old Orange.

The OR15 is kind of it's own animal. Not just a 15w version of an OR80 or 120. It definitely sounds like an Orange, with that killer midrange and huge sound. But I think more than anything they were designing a great 15w head first, and drawing inspiration from the classic heads second.
That's what the values mean, though. At 10, a 500k pot reads 500k ohms. That effectively sets the maximum volume and tone settings, which is why some people go for no-load pots that actually do eventually go straight to ground. And it is pretty subtle between typical passive values, but you definitely don't want to stick with the active values. Those stop at around 25k-50k which is like having your 500k rolled way back.
Quote by Fisheth24
So we're looking at an expensive job.

Thinking Orange Drop Caps, but thoughts?

If you do it yourself, it will be dirt cheap. The only big expenses being a soldering iron ($15-30) and the pickups. I would recommend trying it yourself if you've got any kind of mechanical aptitude and a somewhat steady hand. You can practice mutilating the old pots before putting in any of the new stuff. If it all goes badly, you'll be out the soldering iron (handy to have around anyways) and you can take it to a pro.

As far as caps, this is a contentious issue, but imo the value (i.e. .047 vs .022 etc.) is the only real factor with tone controls. Just get something cheap and if you DIY you can try several values, even swap them in and out with alligator clips until you get a tone control you like.

edit: I would disagree with the points about not using the tone control. Even if you keep everything on 10, a 500k pot with a .047 cap is still rolling off much less than a 25k would. Even the cap value would affect where the cutoff point was. The only time the cap and pot values wouldn't affect the sound is with no-load pots.
Quote by Fisheth24
I love seeing that this thread is still active:

Know I made a thread, but thought I'd ask here.

Anyone had experience converting Actives to Passives? Wanting to go back to passives with my Old Skull V. Not a fan of EMG 81/85 really.

You'll need new pots, unless you still have the old ones. Actives usually use around 25k pots, and passives need somewhere between 250k-1meg pots (500k is standard for humbuckers, more=brighter, less=darker). So if you keep the active pots it'll be like your volume and tone controls never go past 1-2. Otherwise, you just need the pickups. You can keep the stereo jack, but you'll want to remove the battery wiring.
Quote by H4T3BR33D3R
Albert King is cool but Im more of a Freddy man myself. Fun fact is that particular V was built by a young Dan Erlewine (who some would recognize from stewmac stuff and others for his work through the years).

I would say Warmoth maybe but it probably would be bolt on. Youll probably have to make one yourself.

Yeah, I found that video going through the StewMac Youtube channel. My plan would be to either stick it on my vantage, or even better, find another of the same model that's been trashed. Then I could strip it down and do some kind of oil finish with binding. So I'd be looking for a bolt-on, but I don't think Warmoth does 25" scales.
Before buying anything, you might try swapping that electro harmonix tube around. The first tube on each channel is going to have a much bigger impact on the sound, so try that one on the channel that's giving you the most trouble.

Tung Sols are good tubes, so they'd be worth trying. When you get them, try experimenting and mixing them with the old tubes. Personally, I run all JJ preamp tubes and winged C EL34s.
Maybe try one 12at7 and a 12ax7. Here are the gain ratings:
12ax7 - 100
12at7 - 60
12av7 - 41
12au7 - 17

I found a box of old RCA 12au7s once, and with two of them in Pro Junior, there was almost no volume. Cranked to twelve, you could talk over it and there was no breakup at all. At most, I'd try one 12at7 in there.
I wouldn't do the 12au7s. They are much lower gain than 12at7s, much less 12ax7s.

Man, I love the King V...wait, who are we talking about? I just saw this thing on the Joe Bonamassa backstage videos. It's totally over the top, but I think it's gorgeous. On a completely unrelated note, anybody know where I could order a 25" scale open book style neck? I think I need to learn to do inlays this summer.^143118042042-sku^423563000015000@ADL4MF-adType^PLA-device^c-adid^92666429427

Assuming you don't already own the Slash sig, this would be a much easier and more affordable option. If you do own the Slash, consider selling it and buying this or something similar.
There is quite a bit of variation with any of those guitars, though. I've seen Thinlines that weighed less than 6, or well over 7. With a Strat there'd probably be an even wider range, since there's more wood there.
Thinline Telecasters are just all around awesome. I think you'd have a hard time finding a solid body that light, too. I wouldn't rule out a standard Strat, though. They aren't the lightest option, but they are so ergonomic that you can easily find a comfortable playing position. My back isn't that bad yet (I'm 6'5", so I'll probably get there), but to me it's all about being able to sit or stand how you want while you're playing the guitar. So for that, I think a Strat or an SG would be perfect.
I think the only (possibly) objective values you could judge a guitar's playability on would be the frets. As long as the frets are dressed cleanly and level, everything else could be personal preference.

Some people actually prefer a high action to make it easier to grab hold of the strings for bends. Players have different preferences on neck relief, string tension, neck profile, fretboard material and so on.

I've gotten to the point where I prefer my neck finish to have a little "tackiness" to it, where my thumb or palm can really anchor into the finish. Some people can't stand that, and want a satin finish that lets you glide all over the place.
These really are awesome value for the money guitars. So many of those brands that used to be dirt cheap like Burny, Bacchus, Greco and Tokai are selling for as much or more than new Gibsons now. It's nice to still be able to pick up something a little funky that plays and sounds great for a decent price. Mainly, though, I just like seeing weird old gems getting played out. It's much more interesting than everybody having a new standard Strat or Les Paul.
Satan Worshipping Doom by Bongripper would be my first choice. Earth 2 by Earth, Absolutego and Dronevil by Boris and Flight of the Behemoth by Sunn O)). I could give you several suggestions that have very minimal vocals, like Earth's Pentastar. Black One by Sunn O)) has almost no vocals on side 2. Alot of these groups tend towards more drone than doom on their instrumental albums.