ADA Depot - A Forum To Support Users of ADA Amplification Gear
Non ADA Gear => Guitars => Topic started by: kawai2g4b on October 02, 2014, 01:54:19 PM
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Hey guys, I just picked up a Squier Stagemaster Deluxe HSH (neck thru) via trade throw in. It has a licensed Floyd with a brass sustain block and a nice thick neck (for a shredder anyway). But I am definitely going for an electronics upgrade. What pickup combo would you guys install in the Squier of you had it? Note: I don't use actives with the exception of a Carvin DC200 style setup.
Also: body construction is maple neck thru with alder wings.
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My personal fave: Seymour Duncan SH4 JB in the Bridge and SH2 in the Neck. Especially with a neck-thru guitar or a set-neck
One note: They lose a lot of volume when you split the coils (not sure if that's a deal breaker). I have often toyed with the idea of installing a small preamp chip for that...never did though.
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That would probably work. I have the JB in one of my old custom axes and I already use a similar preamp setup on my Carvin and Kawai. Keep em comin, thanks Dante!
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My personal favs are the DiMarzio CrunchLab bridge and LiquiFire neck humbuckers....
What I especially like about the CrunchLab is that when playing high notes these still sound very "deep" with lots of substance and not ice-picky at all. Almost as if you´re playing tuned way down (but still in standard E).
Low-end notes are still tight and defined and open chods (even in hi-gain) sound humongous!
The LiquiFire neck pup gives you a well defined creamy liquid kinda solo/lead sound for single note playing and legato lines and just sings. Also a great pup for clean sounds.
I personally don't use any middle pups as they always tend to get in the way of my right hand....
So for chimey glassy bell-like cleans I use the inner coils of both bridge and neck pup together in parallel, done with a single 3way 4pdt switch (DiMarzio EP1111) for my 3 pup positions...power of simplicity.
With the wood composition of your SM Dlx being mostly maple and alder it makes for a very bright sounding guitar....with the wrong pups that easily gets ice-picky.....
Another pup I could recommend (but these only pop up from time to time used) is a DiMarzio Virtual Hot PAF.
Just my 2€-cents
edit: attached 2 short clips with the CrunchLab/Liquifire combo.
1st is heavy; Rhythms is MP1 Mod3.1 w/MDRT, Leads is Mesa Triaxis. Recorded through an old Behringer GI100 Ultra-G cab sim and an ESI DuaFire interface....
2nd is the Intro to Dream Theater´s The Count Of Tuscany. Cleans is the middle pos of the 3way toggle as mentioned above, Leads is CrunchLab and (later) LiquiFire. All Boogie Triaxis
Guitar on both was an Ibanez RG2620QMSP with DiMarzio CrunchLab and LiquiFire pups
(http://www.guitarworld.de/gwpages/images/gear/8736.jpg)
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Pick ups are so subjective, my favourites are Ultrasonics (Bill Lawrence designed them ??). Anderson used them in their first guitars, mine is the first in Australia, I changed the initial Ultrsonics to the last version they made. Great PU very flat (they were called reference series because they are not as middy as most PUs so bass mids and treb nicely balanced). they come in single coil and humbucker sizes but are all dual coil humbuckers. Like SC I wind the middle PU as low as it can go as it gets in the road of my right hand. But the wiring on the anderson (each PH has a 3 way switch, middle off, down coils in series, up coils in parallel) so combining the middle PU (which is as far from the strings as it can go) in parallel with the neck in series gives a great glassy clean sound with clean patch and quite good controlled R and B/rock sound with hotter patches. Best PUs ever IMHO if you can find some.
Other choice, depending on your style are the Gibson 57 reissues, not the highest output but in a class of their own for a good rock tone (I've got a pair in my Epiphone SG, sound great :thumb-up: )
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Pick ups are so subjective, my favourites are Ultrasonics (Bill Lawrence designed them ??). Anderson used them in their first guitars, mine is the first in Australia, I changed the initial Ultrsonics to the last version they made.
Very goods pickups, but nowhere to be found anymore.
I find Bill&Becky's L500s come closest :thumb-up:
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I have an all maple Carvin DC150 from around '85, and a while back I decided I wanted to replace the stock pickup with something thick and rich that would tame the high-end of the maple a little. At the time, several people on another forum suggested the Suhr DSH+ for the bridge, which is what I ended up getting. I have been very happy with the DSH+ and have often received compliments on the tone, so it may be one to consider.
~ Rick
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Well for either EMG81's or Dante's choice but in your case a TB4 (not the JB4 since you have a trem) and the SH-2.
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Ultrasonic Refs on German eBay: http://www.ebay.de/sch/Musikinstrumente-/619/i.html?_from=R40&_nkw=ultrasonic :thumb-up:
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Thanks SC, I don't speak German so it's a bit hard to read, I sent them an email, hopefully I can buy one direct so I can put a Ref 3 with a spare Ref 6 I've got in my Tele
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If they don´t sell intl lemme know :thumb-up:
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Thanks SC, appreciated :wave:
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Hey guys, I just picked up a Squier Stagemaster Deluxe HSH (neck thru) via trade throw in. It has a licensed Floyd with a brass sustain block and a nice thick neck (for a shredder anyway). But I am definitely going for an electronics upgrade. What pickup combo would you guys install in the Squier of you had it? Note: I don't use actives with the exception of a Carvin DC200 style setup.
Also: body construction is maple neck thru with alder wings.
It's also gonna depend on the body wood and the neck type. All my Ibby's have Dimarzio Tone Zone's (or stock Ibby USA's which are some sort of DiMarzio.) in the bridge and PAF Pro in the necks. My Jackson has a Sreamin Demon.
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So the stage master is a straight through (sugar) maple construction, which tends to be quite bight (particularly compared to Mahogany and other softer woods) and with Alder wings (is no doubt quite a heavy guitar), although the alder may mellow the maple a little ? but not much. So PU choice you don't want them too bright and you need 2 x humbucker sized PUs. One definitely worth a try is the Gibson 57 re-issue, not the highest output but a great tone and would benifit from the maple giving just a bit more sparkle and cut. I have 2 in my Epihone SG, they are great PUs, noticeably better than others (even my old drummer could hear the difference lol). I swapped out the Epiphone PUs (which sounded great just microphonic) for a SD JB bridge and SD Alnico neck, standard selection for a Les Paul/SG, they were ok (now in the cupboard) as the 57 re-issues are soo much better (and individual ?). After the Ultrasonics, my next fav PU.
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I was recently wow'd by a clip I heard using The Creamery's Classic 83. Easily one of the most balanced sounding pups I've ever heard.
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So Gemini75, how would they go with bright (sugar maple) ?
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So Gemini75, how would they go with bright (sugar maple) ?
Here's the vid,
https://www.youtube.com/watch?v=9_s3wyPIt28 (https://www.youtube.com/watch?v=9_s3wyPIt28)
Alder body/ maple neck, and this pup sounds really good to me.
Pretty sure there are a couple of magnet choices too. So you could go with a A2 if the guitar sounds too bright, or an A5 if you want more of the tone you're getting now.
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Hey guys, I just picked up a Squier Stagemaster Deluxe HSH (neck thru) via trade throw in. It has a licensed Floyd with a brass sustain block and a nice thick neck (for a shredder anyway). But I am definitely going for an electronics upgrade. What pickup combo would you guys install in the Squier of you had it? Note: I don't use actives with the exception of a Carvin DC200 style setup.
Also: body construction is maple neck thru with alder wings.
hi Kawai
I have about 4-5 of these guitars, I'm a big Squier fan, the ultimate hot rodder guitar.
Anyways I have a few stagemasters and showmasters. I have the stagemaster you have with the thru neck and the brass block. Personnally with this particular guitar I kept the stock pickup :)) I really like it. However in every other stagemaster and showmaster I own I have something no one has mentioned (perhaps because they all hate it :lol: and think it's shit). The Dimarzio Super distortion DP100. That pickup in those guitars is awesome. A pure rock machine. The legacy of the DP100 speaks for itself. Never mind what the trendy's are playing these days, DP100 all the way!!! Best thing I ever did was buy one. I got them all for £50 or less of ebay in more or less new conditon second hand.
Here I am with a pink, 20th anniversary, maple necked showmaster with a dp100 in the bridge!!! see attached
It cleans up well, splits well, pushes amps or pedals well, doesn't cause too much string pull with it's magnets.
As for the electronics, what are you thinking of doing? The cap in everyone of those guitars is a nylon cap and definately not the standard crap ceramic disk you get in other squiers, also the pots and wiring in them are spot on. People feel they need to upgrade them because they are squiers right and generally that is true, but the stagemasters and showmasters were considered to be higher end so they didn't come with the bog standard stuff.
I sheilded mine and made them real quiet, and stuck in a DP100 in all of them bar the thru neck deluxe.
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The Super Distortion (DiMarzio DP100) is definitely a classic.
But as will all pickups is always a matter of personal subjective taste....
Dante swears by his Seymour Duncan JB/59 pickups, McLeanAB preaches EMG (where are you BTW???), rnolan prefers his Ultrasonics,...and I have DiMarzio CrunchLab/LiquiFire or AirNortonS pups in all my guitars.
IIRC the initial question here was what pup goes best with what wood combination (Alder/Maple being a very bright sounding wood combo with lots of treble).
Here´s an interesting read called Different Wood, Different Tones (http://www.seymourduncan.com/blog/the-tone-garage/different-woods-different-tones/) from the Seymour Duncan Blog.....
So, coming back to the guitar in discussion (Maple neck through with Alder wings):
Alder: Generally, the highs are slightly attenuated with lows that aren’t that pronounced and a midrange that might use an extra kick because the mids aren’t that abundantly available.
Maple: It won’t be fat or juicy, but it does have a lot of bite, scream and presence. Some guitars of the ’80s were fully maple, and for the styles they were used for were extremely good. Don’t expect a smooth jazzy tone of honky, smokin blues sound, but if bite is what you need, maple is your best friend.
Doing the math: Attenuated highs, bite, scream and presence = Ice pick :o
If I were to choose a pup for this guitar I´d look for something with a boost in the lows, and low mids, bit lesser boost in the mids whereas the treble is rolled back.
Just my 2 cents....
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Absolutely, PUs are a very subjective choice although you can take some of the variables into your thinking, one of the main ones is playing style. One of the great things with MP1/2 is they are so versatile and you can have a bank of differently tweaked tones for different guit/PU combinations. e.g. I suggested the Gibson 57 re-issues earlier in this thread because they are a great sounding (and a bit unique (not everyone has them)) PU which go well in Mahogany (like my SG), but a bit extra bright bight doesn't/wont hurt them. Not the highest output PU around but there's plenty of gain in MP1/2 anyway. I like them allot >:D Although as SC says, I'm an Ultrasonic tragic LOL
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I thought the questions was what pickup goes well with a Squier Stagemaster with a thru neck?
A dp100 works amazingly well with Alder, I mean it is famous for being a good combination in a strat stlye guitar. Dave Murray is an example. Also the Fender HM came with a super 3 in there as standard.
Sure it's subjective and down to what gear you use in my opinion, but since I own several of these I am talking from experience.
I forgot the most important aspect, though which is "it depends on what you intend to use the guitar for?"
DP100 is not bright in my experience. And again a dark or bright guitar can be altered simply by the tone control and cap it is coupled to.
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Also the thru neck version of this guitar is not typically bright, it's darker than the bolt on showmaster versions, I wouldn't say either of those are bright the same way a regular strat is.
And another upgrade to this guitar would be getting steel saddles on there for more harmonic content. The bridge itself is decent and stays in tune for a licensed version. If you replace the saddles with steel one's though you get a lot more detail and clarity.
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Saddles, nuts and even trem spring/block all contribute. The PU will only "pick up" what the string is doing which is influenced by all these things plus the wood. So steel saddles make sense, can you get brass saddles ?
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bizarly you can!! but they aren't marketed for this reason. Scahller replacement FR saddles are apparently brass according to someone I asked whilst looking for a replacement set. this is what they said.
"They're made of brass.Die-cast and electroplating.Thank you."
actually I realise what they are talking about, and that is a tiny little part at the bottom of the saddle that is brass. So actually the part where the string sits is die cast which I believe is crap.
I currently asking Migthey Mite about their saddles because I don't want to stupid money for set of steel original FR saddles. I'm replacing all my licensed trems with proper steel saddles you see. I have only done the one guitar so far and I took a hit on a set of saddless I got from the states.
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Saddles are a point of difference, the whole brass rave (happened many years ago) was to increase the mass, thus more sustain (sustain not a big problem with MP1/2 but then they didn't exist then). I put brass saddles and made a brass nut for my Jap Anson strat copy (very heavily modified (by me >:D ) guitar over time...). Butt this was all solid brass, quite bright but good sustain (which is what I was chasing (I think ?? was a long time ago, but nice harmonic content BTW)). If steel works for good clarity and harmonic content = good upgrade. What are your current saddles ? (that you haven't upgraded)
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current saddles are probably some rubbish alloy. Die cast crap.
Yeah I considered a brass nut at ome point lol I liked the idea of MORE SUSTAIN!!!! More everything is my motto :)
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Rabidgerry and all, thanks for the help in spite of my long absence due to some prolonged personal chaos. I think the steel saddle and Super D idea would work well personally. I know the neck through Squiers are Cort-built and their upper end stuff really works well. My particular guitar has that darker character that you speak but based on string response I believe the saddles are the culprit, it just deadens enough to get on my nerves. I have had Super Ds in the past but the guitars I used them in are not exactly their best match. I'll try the Super D in the bridge but I am considering a Super 2 for the neck to get a bright, round, cutting neck tone.
Hopefully what I come out with is a less brash and more full-sounding iteration of my Carvin DC200, which has Nuno-levels of brightness and cut.
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Super 2 would be good for the neck as well. The thru neck stagemaster I have I left stock with the pickups, I just liked them. They eventually got a little bit microphonic with all the gigging but the sponge behind the pickup sorted that dramatically. I have actually done that now with all my guitars. Shielding will also help.
I love that Stagemaster, I am always on the lookout for another one. Mine was in near mint condition and I bought it for about £75 - $117 US. They go for a lot more than that now. There are couple on ebay brand new never out of the box going for 4 times that amount!! If I had the cash I'd buy them all. The necks are amazing!!
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You are right about the neck, it's nice and chunky. For that matter I got mine at a store for $99 U.S.
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holy shit! That is like £63!!!!! Is it in good condition? The regular price these go for is more £150 - £250. That's a bargain for that guitar. Don't think anyone realises it's one of the few thru necks fender have ever made. Because it looks like a shred machine most put people off them.
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You are dead right, I got a steal and these things are real sleepers. I happened to be really lucky with mine in that it is in good condition. Not only that, you can take it out of metal territory easily, which does not happen often with shredders. :metal:
Cort did a great job building these.
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I must compare serial numbers. You sure yours is a Cort factory build? I dunno about. All I know from the serial is it's Korean (all the deluxe models are) and was made in 1999. The ended the deluxe in 01 I think.
Mine was in near perfect conditon also. It has been my main giggin guitar for like 2 years. Frets are still big and fat. Also mine has a little push/pull pot to split the bridge humbucker (they guy I bought it from in England fitted this). It's a neat little mod.
check this image with me and the stagemaster. Not really sure how to describe the colour, like a grey metallic blue
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My malmsteen strat has a brass nut and it is excellent. It makes it vey brassy vs a bone but. The guitar has a secondary ring that I think is caused by the nut and some may not like an instrument that rings on its own.
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My malmsteen strat has a brass nut and it is excellent. It makes it vey brassy vs a bone but. The guitar has a secondary ring that I think is caused by the nut and some may not like an instrument that rings on its own.
are you happy with the brass nut? I'm looking into a big brass sustain block made for a few of my guitars. Brassy seems to ring, like a bell :)
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Yes, I am extremely happy with the entire guitar...but of course that encompasses a lot more than just the brass nut.
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Hey RG, brass = more mass = more sustain and for nut adds some brightness coz it's metal not bone or some kind of plastic. Ivory sounds great (more dense than bone) but not PC to use, then there's carbon nuts to reduce friction. I went down the brass path on my early Japanese Anson strat 35 years ago when it was the fashion... Brass nut, brass saddles, brass scatch plate (needs to be lacquered or turns blue.. good reflections though) does improve sustain, and I liked the sound of it (it's different, bright but kind of mellow at the same time if that makes sense). But do you want more sustain ? Sure some additional crispness I think you'd like (so brass nut ?). The sustain you notice more with big blusy/rock bends with lots of space, anyway my 2 cents worth.
The brass sustain blocks (where the springs plug in) in floyds (or similar) helps also. My Anderson's floyed has brass, and I recently bought a brass block for my Schaller floyed (in my tele), subtle but does improve sustain (also is warm ?? I think).
Cheers R
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Rabidgerry, when I looked up the info, it showed that the deluxe serial numbers that begin with a K are from Cort. Mine is 24 frets as well so it's a later one.
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Hey RG, brass = more mass = more sustain and for nut adds some brightness coz it's metal not bone or some kind of plastic. Ivory sounds great (more dense than bone) but not PC to use, then there's carbon nuts to reduce friction. I went down the brass path on my early Japanese Anson strat 35 years ago when it was the fashion... Brass nut, brass saddles, brass scatch plate (needs to be lacquered or turns blue.. good reflections though) does improve sustain, and I liked the sound of it (it's different, bright but kind of mellow at the same time if that makes sense). But do you want more sustain ? Sure some additional crispness I think you'd like (so brass nut ?). The sustain you notice more with big blusy/rock bends with lots of space, anyway my 2 cents worth.
The brass sustain blocks (where the springs plug in) in floyds (or similar) helps also. My Anderson's floyed has brass, and I recently bought a brass block for my Schaller floyed (in my tele), subtle but does improve sustain (also is warm ?? I think).
Cheers R
That's why I want a big block duhh! :facepalm: :lol: Not a standard size one but a bigger one. A few of my axes have a brass block but only small size (standard).
Santana was big into brass I heard in the 70's.
Rabidgerry, when I looked up the info, it showed that the deluxe serial numbers that begin with a K are from Cort. Mine is 24 frets as well so it's a later one.
I Think all the deluxe models have 24 frets, (deluxe meaning the thru neck version) Even the showmaster's I own have 24 frets also (the renamed Stagemaster). I have one Stagemaster with 22frets and a scratchplate!!!
here is the serial number - KC00116187
00 is the year. Mine is from 2000 ;D
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I also got big blocks on all my axes...subtle improvement but def worth it:
(http://i992.photobucket.com/albums/af41/MagnusBausW/DSCF3325.jpg)
(http://i992.photobucket.com/albums/af41/MagnusBausW/DSCF3326.jpg)
I got mine from this seller on eBay whom I can highly recommend:
http://www.ebay.de/itm/FLOYD-ROSE-ORIGINAL-TREMOLO-BRIDGE-BRASS-GUITAR-BIG-MAGNUM-BLOCK-TONE-UPGRADE-/191419347602?pt=Guitar_Accessories&hash=item2c917b7292 (http://www.ebay.de/itm/FLOYD-ROSE-ORIGINAL-TREMOLO-BRIDGE-BRASS-GUITAR-BIG-MAGNUM-BLOCK-TONE-UPGRADE-/191419347602?pt=Guitar_Accessories&hash=item2c917b7292)
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I also got big blocks on all my axes...subtle improvement but def worth it:
I got mine from this seller on eBay whom I can highly recommend:
http://www.ebay.de/itm/FLOYD-ROSE-ORIGINAL-TREMOLO-BRIDGE-BRASS-GUITAR-BIG-MAGNUM-BLOCK-TONE-UPGRADE-/191419347602?pt=Guitar_Accessories&hash=item2c917b7292 (http://www.ebay.de/itm/FLOYD-ROSE-ORIGINAL-TREMOLO-BRIDGE-BRASS-GUITAR-BIG-MAGNUM-BLOCK-TONE-UPGRADE-/191419347602?pt=Guitar_Accessories&hash=item2c917b7292)
Amazing man!! That's basically what and why I wanna do that. Here's a story. I got a MIM Strat, superb instrument, same as an American standard build wise IMO. Anyways. I got a fat strat with a Licenced FR. So it's nice, good bridge, but I figured what the hell I'll try upgrade with a bigger block!!
WRONG! this bridge has some weird sized screws that fitted through the bass plate that were smaller than regular FR's and also different screw hole widths from regular FR's. I tried to get a custom block made to accommodate the weirdness and ended up getting ripped of by a company called "killer guitar components".
They basically made a few blocks for me and kept getting it wrong (it was a tricky task given they were in the states and could only work from my measurements). Anyways they kept telling me they would get one to fit and like the 3rd time I returned the block to them they just severed all ties with me and took my money. Bastards!!
It was all because of the screw hole alignment.
On an MIM there is only room for downward bends, so upward bends is impossible, so getting a block that can still fit and allow for full downward bend was tough as well. This combination of weird things from this unusual licenced bridge Fender stuck on their MIM defeated me.
I've a bunch of others guitars though like the Squier Stagemaster that can be swapped out with normal FR parts though if need be, I've checked.
Thanks for the link Systematic Chaos I'm going to check out your guy :)
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...Fender MiM FR Strat....
Is that a mid/late 90s HSS Strat w/ fotoflame finish and Floyd Rose II or the HSS with the rev headstock?? Post some pics....
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...Fender MiM FR Strat....
Is that a mid/late 90s HSS Strat w/ fotoflame finish and Floyd Rose II or the HSS with the rev headstock?? Post some pics....
I will do
No the MIM is the standard MIM Strat the sell currently. I actually had an earlier version again from arond 2002 but some assholes burgled my house and stole it. I replaced it then with an 07 or 08 MIM midnight wine standard fat strat. Photos on the way.
Here is a link to the guitar I am on about with a weird fitting screws
http://www.fender.com/en-GB/guitars/stratocaster/standard-stratocaster-hss-with-locking-tremolo-rosewood-fingerboard-midnight-wine-no-bag/ (http://www.fender.com/en-GB/guitars/stratocaster/standard-stratocaster-hss-with-locking-tremolo-rosewood-fingerboard-midnight-wine-no-bag/)
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Hey SC, how do you attach the springs (or am I missing something here ?), Does any one make Brass FR saddles/jaws of life and lock nuts ?
Hey RG bane of my life doing up guitars where the screws etc are just out... partly metric vs imperial, partly copy write.
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Hey SC, how do you attach the springs (or am I missing something here ?), Does any one make Brass FR saddles/jaws of life and lock nuts ?
Hey RG bane of my life doing up guitars where the screws etc are just out... partly metric vs imperial, partly copy write.
hey Richard, SC's block has springs attached, just like any other trem, that's just the unit uninstalled. When it goes back in it has springs pull it back same as a regular strat trem.
Man I hear ya about measurements, really in this day and age standards should be set. This FR I am talking about is like no other screw fitting to the baseplate I have ever seen. Most licenced copies are usually pretty much the same spec.
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Hey RG, yeah but there's usually 5 small holes for the the spring ends (like the old one next to it in the pic), the big brass block has a plate with 2 allen bolts, how do the springs attach ? (e.g. under the plate and it's there to clamp them in ?). Actually thinking about that makes sense, going for max sustain and ensure spring ends stay firmly attached, I ask because I've not seen that before.
When I put a new brass sustain block on my Schaller lic FR (in my Tele) I was pleasantly surprised that it all lined up perfectly (lifes good LOL). I also put in some saddle shims coz the tele's FB radius is sharper (smaller circle), something I hadn't considered when I bought the Schaller and did all the routing to make it fully floating and flat with the top. Ther original sustain block pocked out the back a bit (I could whammy with my belly LOL), new one is the correct depth (shorter) and brass. My Anderson came with FR and brass block, all I've had to do with it is set it up and restring it, dream guitar... I put in a trem setter and moved the LH strap thingy from back of neck (ala SG) to normal strat spot on top pointy bit.
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Hey RG, yeah but there's usually 5 small holes for the the spring ends (like the old one next to it in the pic), the big brass block has a plate with 2 allen bolts, how do the springs attach ? (e.g. under the plate and it's there to clamp them in ?). Actually thinking about that makes sense, going for max sustain and ensure spring ends stay firmly attached, I ask because I've not seen that before.
When I put a new brass sustain block on my Schaller lic FR (in my Tele) I was pleasantly surprised that it all lined up perfectly (lifes good LOL). I also put in some saddle shims coz the tele's FB radius is sharper (smaller circle), something I hadn't considered when I bought the Schaller and did all the routing to make it fully floating and flat with the top. Ther original sustain block pocked out the back a bit (I could whammy with my belly LOL), new one is the correct depth (shorter) and brass. My Anderson came with FR and brass block, all I've had to do with it is set it up and restring it, dream guitar... I put in a trem setter and moved the LH strap thingy from back of neck (ala SG) to normal strat spot on top pointy bit.
There is a cover covering the spring holes man, that fits on to stop the spings coming out. I have saw it on other custom susatin blocks.
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Cool, makes sense (I suspect it's also to keep the springs tightly coupled with the block and enhance sustain and reverb from the springs (as in 44 years I've never come across a spring letting loose at either end), so my take but thanks for the info).
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I stuff my springs with sponge to stop all that ringing :)
never realised about the coupling effect but I expect it works that was also as you say.
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This is why I asked about how much sustain you want, when your doing big bend bluesy rock solos (nice delay/reverb) all this stuff makes sense (like Santana), when your playing tight fast metal, is that what you want/need ?? But given your a one guitar band, it can help ?? my thoughts..
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The holes for the springs are underneath that metal plate.
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This is why I asked about how much sustain you want, when your doing big bend bluesy rock solos (nice delay/reverb) all this stuff makes sense (like Santana), when your playing tight fast metal, is that what you want/need ?? But given your a one guitar band, it can help ?? my thoughts..
Yeah that's why I want the big blocks, for more more more more more more.
"Nothing Exceeds like Excess"
(http://i86.photobucket.com/albums/k114/themetalmartyr/71oTqc1AlL_SL1074_1.jpg) (http://s86.photobucket.com/user/themetalmartyr/media/71oTqc1AlL_SL1074_1.jpg.html)
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...Fender MiM FR Strat....
Is that a mid/late 90s HSS Strat w/ fotoflame finish and Floyd Rose II or the HSS with the rev headstock?? Post some pics....
Ignore the text on any of the pics, that was for the guy wh was buildng the block and then ripped me off in the end.
(http://i86.photobucket.com/albums/k114/themetalmartyr/P2020303.jpg) (http://s86.photobucket.com/user/themetalmartyr/media/P2020303.jpg.html)
(http://i86.photobucket.com/albums/k114/themetalmartyr/P2-Newblockscrews.jpg) (http://s86.photobucket.com/user/themetalmartyr/media/P2-Newblockscrews.jpg.html)
this one I was telling him the block came to far forward
(http://i86.photobucket.com/albums/k114/themetalmartyr/P3-NewBlockontheBridge.jpg) (http://s86.photobucket.com/user/themetalmartyr/media/P3-NewBlockontheBridge.jpg.html)
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Wow RG, big chunk of brass, I'm sure it has some effect, but how much ??
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Wow RG, big chunk of brass, I'm sure it has some effect, but how much ??
No mate, that never worked out, it never fit, not even close which is why I got ripped off in the end. The guy from Killer Guitar Componenets was trying to make me a custom block because my licenced Floyd that fender stock as standard on their fat strats with Floyd rose bridges has weird screw size and hole alignment. The screws are closer together and smaller than regular FR's and weirdly most other licenced FR's use standard measurements same as the original. At least 4 others guitars I have with Licenced FR's are all interchangeable with Schaller or Original Floyd Rose components. I have been trying to get a block for this guitar for years.
SC pointed me in the direction of a guy he knows of ebay who has made blocks for him. Still need to check it out. Looking forward to the brass.
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I changed the block on the Schaller lcnd FR in my tele recently, to a brass block (I basically needed it shorter (original block was pocking out the back of the guitar LOL, I now know they come in different depths :facepalm: )). Bummer the holes don't align for you (and you sent him the measurements WTF), like your other ones, the Schaller holes were perfect for the licn replacement block, I also put in some saddle shims as the tele has a smaller radius. I got bits from here (http://axcessories.com/categories.asp) if that's any help.
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yeah height is one commone measurement. They come in 32 37 and 42mm blocks. Mine would all be 32mm since they're all strats. When I get a block madE I will post the results. I will more than likely custom design it and give the spec to who ever is making is. There is room in the cavity that wouldn't be used up by a standard block so I can add more mass to a custom design for those spaces and make sure I still can dive b*mb.
My idea was to gradually stick stuff on my existing block, making it bigger and I can build it up until it's too big. I was going to use cardboard and tape layers cut to shape for it increasing thickness gradually and width. Will let you know results.
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I think I'm running 37mm in tele now, used to be 42 (works for Les Pauls ??)