alder w/cap of maple/ junior plan

hewo

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is it worth venture 198usd?

or just merely pure alder2" thick slab flat top wraparound

p90 solo bridge

no pots!

just output female receptacle

do not route p90 cavity

instead source de 'Armond gold foil surface mount type lowest profile achievable into p90 signature replication

reinforce bushing wraparound epoxy in place permanent with interference fit throughout

straight string paths except break-over angles, tuner peg as well as wraparound spacings

balance the instrument head to toe (bow to stern)

do it by pinching the locate vector of gravity acting at the strap button forward, the instrument must balance here at this pivot

live loads static loads acknowledged here too (what happens if you plant flyweight tuners?)

can the cellular phone route the p90 signal to the sound reinforce? how?
 

Roxy13

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I think he wants to buy a kit. Either maple cap on an alder body or full alder body.

He wants to use gold foil pickups instead of the p90 the body is routed for?

The kit comes with a jack but not pots?

He is asking if he should epoxy in the bushings for the wraptail bridge. I think he is asking that because he had another guitar that the bushings started leaning forward on that he asked about in other singlecuts.

And he's asking if lightweight tuners would better balance the body.

I don't understand the part about using the cell phone with the pickup though.
 

LtDave32

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I think he wants to buy a kit. Either maple cap on an alder body or full alder body.

He wants to use gold foil pickups instead of the p90 the body is routed for?

The kit comes with a jack but not pots?

He is asking if he should epoxy in the bushings for the wraptail bridge. I think he is asking that because he had another guitar that the bushings started leaning forward on that he asked about in other singlecuts.

And he's asking if lightweight tuners would better balance the body.

I don't understand the part about using the cell phone with the pickup though.

^-----Hire this woman.

Nice job interpreting, Rox!
 

Roxy13

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I buy a lot of guitars from Japan. Sometimes the translations in the descriptions come out quite strangely.

I also had a Japanese exchange student who wanted to come here so badly he lied on his application about being able to speak English. I managed to communicate with him and he did very well in my class (it helped that it was pre-calculus), but you can imagine how his other classes like English and History were going.

hewo also aksed if the kit was worth the $189.
 

P.H.Fawcett

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After what Roxy13 has divined from the OP question and musings I'll give this a try.

L1 Is this project worth an outlay of US $198 ? You'll have to make a costing of parts.

L2 A body shaped from 2" thick Alder blank. Yes that could work.

L3, 4, 5 A single P90 with no Volume or Tone control just an output jack. Yes, but think about volume control.

L6 Use a P90 fixed to the top with no route. Yes

L7 Instead of the P90 use a DeArmond Gold Foil. Yes that'd work too.

L8 Reinforce the wrapround bridge by gluing in the inserts using epoxy. If the hole size is correct for the inserts you shouldn't need epoxy.

L9 String path should be straight. Always possible but I've never worried too much about this.

L10 , 11,12 The guitar should be well balanced. This is a good design feature but it is difficult to workout until you have the guitar constructed. The first design will be your working prototype.

L13 Can the signal from the pickup be sent to an amp via a cellphone ? If I'm reading you correctly just use a wireless system between guitar and amp. https://musiccritic.com/equipment/guitars/best-wireless-guitar-systems/

hewo, I think you have a very good idea of what you want in this guitar design. Now it's time for you to start building.

Anyone feel free to correct my interpretation.
 
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hewo

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the fifteen year experienced luthier communist country provided quotation hand built in communist turf.

yes, the maple cap is significantly sturdier for a foundation to resist creep of wraparound leverage, the bushing lean.

but alder, it is magic, especially with good alder (very cold climates slows growth encourages density and cellular homogeneity although grain is unidirectional for intention of preferential directional strength), pollution interferes with proper growth, stunting it, just as humans stunt themselves!

so avert the cap, in preference of wood homogeneity, choose 2" slab alder eliminating compound species unionized together as in the traditional les paul designed compound mixture of lumber species to alter its tonal signature by the woods adjoined, interfaced adhesion

as drafted, the aim is to least remove lumber material where permitted achieving homogeneity of the integrated structure of combined wooden pieces, this intention is not to reduce functionality, for example no routing of p90 cavity by articulating the de' Armond slim enough with p90 characteristic spectrum requiring no cavity, for example no butchered elex cavity housing preferential signal shorting (annihilate) elex constituents. There is no need for routing the selector switch cavity, there is no need for the 24th fret neck pup cavity routing, but there is vital necessity to drill triad connect lumber tunneling for the instrument signal output port, the wraparound bushing earthing, & the p90 windings, and this brings challenge eliminating altogether the abs elex cavity cover plate, is this achievable no cover plates? Can the winds be welded to the output receptacle & earthing bridged to the bushing, all without the need for an elex bay routing & cover plate?

favor the ancient downsized melodymaker headstock topology whereby the pinch in the nut is near eliminated because the path of the string stays straight up to its post wind albeit an angled headstock pinch inescapable

another query, will the de'Armond physical size, can it be hand made with individualized alnico pole pieces staggered heights, yet retain the coveted slim profile to eliminate pup cavity route out? it will depend on how great an angle the neck meets the slab alder body, mind you, the buckling reversal increases with greater breakover adjoining angle, however this tensor improves the lumber's preload (tensioning) for the purpose sustaining vibrations, as fibers are in balanced compression as well as tensile, and there exists a neutral unstressed regime too, between the former two


who cnc's the wraparound staggered saddle offsets? to implement the individual intonation saddles wraparound is to introduce greater number of pieces under vibration transmit, it will bring fault, the transmit, being a paramount achieve of function, it acts as an infinite mass extension from the body, at the saddle cusp, that the string bites into. i believe the offset linear measurements can be milled by cnc in lieu of utilizing the premade molded zinc casted saddles nonadjustable. worse comes to worse can the dremel free hand such custom staggerings? luthiers shape ivory acoustic guitar saddles all by hand. if ivory can be carved, so can zinc?
 

valvetoneman

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This wood combination definitely works,
my telepaul is an alder body with maple neck with a tele bridge and staple p90 neck, it's such a lovely guitar, sounds beautiful, I did use a zirocote fretboard

Stick a timmy pedal on in my plexi on the bridge and it's epic, I mean as good as any paf carved top I've made without the weight
 

hewo

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This wood combination definitely works,
my telepaul is an alder body with maple neck with a tele bridge and staple p90 neck, it's such a lovely guitar, sounds beautiful, I did use a zirocote fretboard

Stick a timmy pedal on in my plexi on the bridge and it's epic, I mean as good as any paf carved top I've made without the weight
great - then we have confirm on lumbering compatibility for improving the holy grail, the adjoin is fixed neck or fastened neck? and do fastened necks also conform to neck into body breakover angles too?
 

valvetoneman

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great - then we have confirm on lumbering compatibility for improving the holy grail, the adjoin is fixed neck or fastened neck? and do fastened necks also conform to neck into body breakover angles too?
It's not improving the holy grail it's just different with a clarity in a tele bridge that you'll never get out of a LP, mine is a set neck so you've got to work around your intended bridge for neck angle

I used a top loading tele bridge with compensated brass saddles
 

hewo

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It's not improving the holy grail it's just different with a clarity in a tele bridge that you'll never get out of a LP, mine is a set neck so you've got to work around your intended bridge for neck angle

I used a top loading tele bridge with compensated brass saddles
that's string thru body topology, that string thru body is to harness that infinite mass extension to the saddle cusp that the string bites harder into when plucked. for electric solid guitars, this infinite mass approach makes sense but not for hollowed constructs like the violin or acoustical whereby the soundboard is being pumped reciprocally up and down the same way a bladder pump works, you know the foot pedal beach mattress air pump gizmo.

have u noticed belling harmonics is weakened by the kind of bridge used? sure, lighter gauges are weaker. but does a particular type of bridge strengthen the harmonic output when plucked?

i originally thought fender created string thru body to add extra length to the total string tensioned, to taut the tension in avoiding rubbery sensate. But apparently the intention was to stabilize the saddles from any forward creep ruining intonation. I've alterated the peavey raptor plus tk the way you did yours top loading, so this strat bodied tele elex did become rubbery, so what, i made it even more rubbery in five string open g for brit rock, which accelerated fret abrade, enlightening me into the most hardest work ever undertaken, fret truing & diamond crowning & dremel mirroring, the worst undertaking, dang! never again! after that experience you become phobia of wearing the fret! it's because you know what it takes correcting it, ridiculous amount of tedious focus and concentration to not screw up. as you get closer to completion, it becomes even more tedious! i planted super old melodymaker pups into this peavey tele elex strat physique and it is blessings, thanks to peavey's design & my tweak, just single coils raw in the cavities appears kinda tech in lieu of aesthetic like the thesis junior will become, no coverplates, no cavities, no signal trash
 

valvetoneman

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I just said what bridge I used and a top loading bridge has lost nothing, this thing is so loud and chimey acoustically, I don't need more of anything

This guitar makes me half think I don't need a burst and I've got a couple kicking about

Just get on and make something and see how it turns out
 

LtDave32

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All mimsy were the borogoves...
 

hewo

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I just said what bridge I used and a top loading bridge has lost nothing, this thing is so loud and chimey acoustically, I don't need more of anything

This guitar makes me half think I don't need a burst and I've got a couple kicking about

Just get on and make something and see how it turns out
fender been around the longest time, you'd think they'd get their design right on after so many dry runs and derivations, same w/ kalamazoo folks too, right?
the only real dramatic impact from all this modern & legacy evolution of construct design knowledge of what actually works desirably, it's got to be the lumber/mat'ls/equipment & also the ksa's of the shop constructor
 

valvetoneman

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fender been around the longest time, you'd think they'd get their design right on after so many dry runs and derivations, same w/ kalamazoo folks too, right?
the only real dramatic impact from all this modern & legacy evolution of construct design knowledge of what actually works desirably, it's got to be the lumber/mat'ls/equipment & also the ksa's of the shop constructor
From my point of view I've never really liked a fender fretscale or fretboard radius but I like alot of other things like pickups and a jazzmaster trem, it's these bits I put in my set neck builds
 

hewo

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From my point of view I've never really liked a fender fretscale or fretboard radius but I like alot of other things like pickups and a jazzmaster trem, it's these bits I put in my set neck builds
You're correct, my large long fingers love 22.5" scale length, super rubbery twangs, but it's merely the toilet bowl acoustic called ovation, you can relocate much quicker, i was fortunate to even find 22.5" cutaway acoustic set neck named "celebrity", here the five string tension reduces dramatically
 


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