Rants of a crazy person with a guitar...
Saturday, December 10, 2016
Saturday, August 27, 2016
Cheap Truss Rod Swap!
So by no means am I a luthier. I don't recommend this procedure for every guitar. I had a cheap bass that was unplayable and ready to be turned into firewood. If you have a guitar that's not worth the cost of fixing, this could be an option, only if you're willing to part with the guitar if something goes wrong.
I bough this old Epiphone Thunderbird
body and neck for about $15 off a scrap pile in a store here in Japan 3
years ago. After making a nut and trying to adjust everything I learned
an important lesson. Loosen up the truss rod nut first on an old rusty
neck and put some lube on it before you ever try to tighten it. While
trying to fine tun the
neck bow I snapped the truss rod. My heart sank. I got the bass up and
running, but there was always so much bow in the neck, that it was
painful to play. The strings were probably about 3/4s of and inch over
the frets. I mostly used it in a down tuning so I got away with
it for a while. Replacing the neck would be tricky as the neck pocket
was smaller than most p-basses and jazz basses.
Fast forward to this spring, I was rummaging through another free scrap
heap in a guitar store and found a cheap Chinese looking neck that
looked about the right size for my Bird. It was! However it was a 24
fret neck and the mounting position would make the scale totally wrong.
So the neck sat there for a few months bothering me. I tried
thinking of ways I could mod the neck, everything. Then not long ago I
just decided, "hell, let's rip off the fretboards on these necks and see
if I can just swap truss rods."
So, I opened up a weird chili beer I found, grabbed my clothing iron, puddy knife and hammer and went to work. Knowing that one of these ideas would be a mistake. But, a cheap learning experience. I slowly worked the knife with the iron on the top frets moving up the neck;giving nudges with the hammer as needed. It worked! Turns out this is the way pros remove fretboards.
So, I get both fretboards off and notice the cheapo free one had a nice
strong and new looking truss rod. However the receiving neck had a much
thinner rusty truss rod. I needed to route out that channel a bit
thicker for the new truss rod. No power tools. To the hardware store
and I get some hand chisels. 2 hours later with some sandpaper, I have
the new truss rod flush with the neck.
I buy 5 C-clamps at the dollar store and a few cheap stamp pads, and glue the fretboard back with wood glue I bought in the States. Taping off the nut end to block the glue from seeping in.
Surprisingly the instructions said only 24 hours to dry was enough. I
waited a bit longer. No creaks, no cracks. Put it together. Low action. It's worked. I now have a functional truss rod. I saved a cheapo cool looking bass for
little money and a little sweat.
Total costs:
Junk Neck $0
Glue $4
C-Clamps $5
Hand Wood Tools $8
Sandpaper $3
Rubber Pads $3
Hammer and Puddy Knife $5
Already owned the iron.
So a job that could have cost well over $300 costed $28 total. Pretty good option for a guitar that wasn't worth the professional repair cost.
Removing the fretboard with a common iron |
Junk neck with fretboard and truss rod removed |
So, I opened up a weird chili beer I found, grabbed my clothing iron, puddy knife and hammer and went to work. Knowing that one of these ideas would be a mistake. But, a cheap learning experience. I slowly worked the knife with the iron on the top frets moving up the neck;giving nudges with the hammer as needed. It worked! Turns out this is the way pros remove fretboards.
New Truss Rod installed |
I buy 5 C-clamps at the dollar store and a few cheap stamp pads, and glue the fretboard back with wood glue I bought in the States. Taping off the nut end to block the glue from seeping in.
Re-gluing the Fretboard |
Here she is! |
Total costs:
Junk Neck $0
Glue $4
C-Clamps $5
Hand Wood Tools $8
Sandpaper $3
Rubber Pads $3
Hammer and Puddy Knife $5
Already owned the iron.
So a job that could have cost well over $300 costed $28 total. Pretty good option for a guitar that wasn't worth the professional repair cost.
Sunday, June 19, 2016
Playing with Two Amps. Stereo vs Slaving and Fun With FX Loops
WARNING: Never power on your amp and play it without a speaker connected. Always have a speaker connected (or a speaker load). If you don't you will fry your amp and it will be costly.
Stereo Rigs
There are lots of options when you realize you want to start playing with two amps live. The tone you can dial in with two differently voiced amps and cabinets can be very full and amazing. You may never go back to playing a single amp again. Although lunging around two heads and cabs to every show is not for everyone. Let's look at some options on connecting your stereo rig.The easiest and cheapest route is to simply get a Y instrument cable and plug straight in. It is highly likely you will run into ground hum. You can buy an audio isolation transformer to remedy this. However this method leaves you with the fewest options.
Y Cable |
The next option is to get a ABY box, which will allow you to switch between amps or play both at the same time or just one amp at a time. This gives you a lot of control over the voicing and dynamics. Not all ABY boxes are created equal however. The best ones will offer you a ground lift to defeat ground hum. The Radial Big Shot seems to be one of the better boxes on the market.
ABY Box |
Through a Stereo Pedal |
Amp Slaving and Daisy Chaining
Now lets talk about Slaving, Daisy Chaining and FX Loops. Slaving is basically taking one amp and sending it's preamp to the power amp of another amp, bypassing the preamp of the slave amp. Why would you want to do this? Seems like a waste right? Well, it can be a solution to a problem I run into a lot here in Japan. Most clubs have a backline of amps which depending on the venue, that amp might not have enough volume or power you're looking for. I like the dirty sound of most of the Marshalls these clubs have, but sometimes they are lower wattage or under serviced and just not cutting it. In this case I'll take the FX loop send of my Marshall (master amp) and run it into the FX loop return of another amp(slave amp). It simply uses the power amp of the slave amp to boost the volume. Sometimes you might want to do this for a smaller low wattage amp that has great tone, but low volume. Maybe you might get a different EQ from the slave amp's speakers. Hell, I've been know to use a bass amp as a slave amp. Sometimes the other amp might not have the distortion tone you're looking for, but it has the power. In my case, most clubs in Japan have a Roland Jazz Chorus. Great loud clean amp, but the distortion channel just isn't my thing. It should be noted the slave amp will usually not have EQ control. We are bypassing it.
Amp Slaving |
"wet" "dry" amp slaving |
There is another method to linking amps that don't have an FX loop. We can daisy chain most amps with dual inputs, such as an old Marshall JMP or most Fender styled amps. JMPs have 4 inputs. A low and high input for two channels, bright and normal. Many people "jumped" these channels by linking a patch cord from the low input of the bright channel to the high input of the normal channel. This allowed both channels to mix, offering more tone control. We can use this same idea and take the lower input of one amp and link it to another amps input. This will run through the second amps preamp, so we can dial each amp. Hendrix was know to do this with two or three JMP heads. Sometimes he simply used the Y cable technique.
Daisy chaining or Linking amps |
FX Loops
Lastly, since we're on the topic of FX Loops, lets clarify what they are and what's going on with them. Your amp has a preamp which controls your EQ and a lot of times the gain or drive of the amp. A lot of people like the sound of preamp distortion, so this is the source of that. When we use effect pedals, sometimes we want our delays, reverbs or modulation pedals to come after the amp distortion. To do this, we can take the send of the FX loop into the input of the pedal or pedals we want to come after the amp distortion, and take the output of the last pedal back into the FX loop return. Sometimes these "send" and "returns" are labeled differently, such as "preamp out". Most people prefer the sound of their tubescreamers, fuzzs, and distortion or boost pedals in front of the amp. Going into the regular guitar input. Because these gain pedals interact with the preamp. Lots of people like the clarity of delays or modulation pedals, coming after this distortion or gain. Some pedals you many find are over powering in the FX loop. I perfer my Phase 90 in front of my amp. In the FX loop it is just too overbearing for my tastes. Maybe try an EQ pedal in the FX loop, and dial in your tone even more. Or boost it. There are no real rules, so experiment and have fun.FX Loop configuration |
Add caption |
Sunday, May 29, 2016
How to Piss Off the Soundguy
I've noticed a striking increase in crappy behavior towards sound folks lately. Let's face it, there is plenty you can do to upset them. But the one thing that needs to be stopped is musicians going out on the floor to judge the mix. Some people take pride in their work and you jumping out on the floor to listen shows no confidence in the job the sound person is doing. You might as well be hovering over their shoulder shouting spittle laced pointers, while putting your grubby hands all over their board. It's that offensive. You're probably a mediocre musician playing in a local joint, where everyone is super drunk just to get through the night you're about to give them. The sound guy probably has more experience than you and probably has been working in the room you're playing many more times than you. Stop it. Be polite. Maybe learn their name. If you need something in the monitor than say what you need. Also, if you're playing super loud, understand the PA won't always keep up with you in some places. Don't pull the shitty rock star attitude with the sound guy. It's your fault.
I've seen a recent string of these actions. The last chick who pulled it had her shitty sounding Metal Zone blasting out of a 130 watt amp ear fucking me. It's going to sound like shit no matter what sweetie. Then she gets upset when the PA can't keep up with the amp. Wouldn't want to miss a second of that guttural noise escaping your herpes riddled mouth. It's been a week and I think the tinnitus in my ears has finally stopped.
Post-Script: Also don't give blowjobs on stage unless your job is a sex worker. (Yes, I actually saw this the week before)
Post-Script: Also don't give blowjobs on stage unless your job is a sex worker. (Yes, I actually saw this the week before)
Saturday, May 21, 2016
Thursday, May 19, 2016
Continuing in our tradition as the "most hated band in Fukuoka"
Continuing in our tradition as the "most hated band in Fukuoka." We're
going in through the back door. Ironically we're playing at a place
that won't let us play there. Jon's last Trade Support. There have
been some good times there. But, the trade part has dwindled. People
used to bring fresh veggies, records, clothes, tacos.... Well, who likes
cigarette soaked veggies anyways? Place smells like death. Ok, gotta
stop being angry and negative. Just another club owner acting dumb in a little podunk part of the world. Carry no.
Tuesday, May 3, 2016
Gigi
Our next show is Sunday May 22nd at Gigi. It opens at 12:00pm, we are the
first band at about 1:30. This is Gigi's 10th anniversary. The people
of Gigi have been very nice to us and many other artists. They have
always given us and many others a chance to play for people without
worrying about Noruma(pay to play). Even when no other venue in Fukuoka
would give us a chance they did. They started the Time Market
magazine for live listings. Their doors are always open for musicians,
photographers, poets, teachers, artists, and music lovers. The food is
pretty damn good too. So, come out and raise a glass to the good people
there.
次のライブは5月22日(日)、場所は清川Gigiです。この日はGigiの10周年記念イベントで、12時からイベントスタートです。バンドとしては私 たちが最初で1時半からです。ご存知Gigiの人たちは超いい人たちばっかりで、私たちだけでなく多くのバンドがお世話になってきたと思います。ノルマな しのライブを提供してくれるレアで素敵な場所で、写真や詩なども含む、全ての芸術ファンをサポートしてくれてます。フードも充実してるので、是非!皆さん 足を運んでくださいーーー。一緒に10周年、お祝いしましょー!
次のライブは5月22日(日)、場所は清川Gigiです。この日はGigiの10周年記念イベントで、12時からイベントスタートです。バンドとしては私 たちが最初で1時半からです。ご存知Gigiの人たちは超いい人たちばっかりで、私たちだけでなく多くのバンドがお世話になってきたと思います。ノルマな しのライブを提供してくれるレアで素敵な場所で、写真や詩なども含む、全ての芸術ファンをサポートしてくれてます。フードも充実してるので、是非!皆さん 足を運んでくださいーーー。一緒に10周年、お祝いしましょー!
Friday, April 22, 2016
Saturday, March 5, 2016
Wednesday, March 2, 2016
Kill Your Fucking Boss #10 4/14 @Graf
500 yen for a show in Japan?!?!?! Yes, the way it should be. No excuses, be there. Support cheap shows. More info here:Facebook Events
Monday, February 29, 2016
Tsugaru Shamisen
So this is not even close to a guitar. A Tsugaru Shamisen. Bit longer and lower sounding than other shamisens. Now I just need to learn how to play it better.
Sunday, February 21, 2016
Make Your Strings Bend Easier!
Have you ever had a
guitar which seems like your fighting or wrestling with while
playing? The strings are hard to bend and maybe you even play it
with a heavier hand than other guitars. Most guitars take some
adjustment to get them to your own personal tastes; string height,
neck relief, etc. However an often overlooked adjustment or option
is available on Gibson like guitars with tune-o-matic bridges and
even some Telecasters.
Fig. 1 |
The Gibson
tune-o-matic bridge as shown in fig 1, has a bridge and tail piece.
The bridge as most people are aware, adjusts the string height and
intonation. The tail piece is the anchor point to hold the strings,
however it is also adjustable. This is to adjust the “break
angle”, the red part of the string in figure 1, just
before the string goes over the bridge saddle. Adjusting the break
angle can change the feel of the guitar. The guitar actually has two
break angles usually. Most guitars have one at the headstock, where
the strings pass over the nut and into the tuning pegs. This effects
the feel of the strings when bending them and attacking them. Some
bridges don't have a break angle. They are simply fixed to the
bridge. On Floyd Rose locking bridge systems, the guitar actually
has no break angles, because the guitar strings are locked in place.
So lets look at the
adjustment options of the break angle at the bridge:
Fig. 2 |
-
With the tail piece adjusted all the way to the guitars body, you increase the break angle and make it steeper, which increases the downward force on the bridge. Like the string in fig 2 B. A steeper break angle will make strings harder to bend and I've notice a bit more treble in the attack of the string.
- Conversely, adjusting the tail piece higher will decrease the break angel, decease the downward force on the bridge, making it less steep, like in fig 2 A. The strings will be easier to bend, and you might find you can attack the strings a bit softer. I have noticed a slight decrease in treble, with a higher break angle.
The break angle does
not adjust tension. Tension for a string to hold a pitch doesn't
change. The scale length of a guitar will effect tension. However,
that is not adjustable. A short scale guitar will require less
tension than the pitch on a long scale guitar. This is why some
people prefer certain scales and brands of guitars. Think of the
break angle as slack in a rope. The less force on the bridge and
less break angle, the easier the strings will slide over the saddles
and nut while bending a string.
So that's the
tune-o-matic bridge, but an even lesser know adjustment is available
on most Telecasters. I had a Tele that I was always fighting with.
I would break strings like crazy. I finally decided to stop
stringing the strings through the body. I though the holes the
strings were coming through might have been breaking the strings
anyhow. However after stringing the strings on the top of the
bridge like in fig 2A, I realized I changed the feel of the guitar
and changed the break angel. Now the guitar is easier to bend
strings on, and I even pick it a bit lighter. I did notice a slight
loss in treble, but nothing drastic. So it seems Fender gives you a
break angle option.
Now, I know there
are many people who strongly believe that string-through guitars and
tail pieces being all the way down on the body increases sustain. I
can't really disprove this, however I will say it's probably like
splitting hairs. The difference is minute as best. You many hear
a difference in tone. I tend to find the more force there is on the
bridge the more treble and attack you get. It should be said that
too steep of a break angle can sometimes cause problems with bending
bridges over years. The string-through bodies as well, might just be
marketing, claiming it increases sustain. I didn't find any proof of
this on my Tele. Maybe I'll do a test on that soon. I do like the
option to switch stringing like on most Telecasters. Also, I no
longer have to worry about losing the small metal ferrules after a
string breaks.
Hope this helps some
people. Just another option in getting your guitar to feel the way
you want it to.
Tuesday, January 19, 2016
New Pedal Paint Jobs
Finally got some paint on the Harmonic Fucker (aka Harmonic Percolator Clone). I made it a nod to Big Black's "Songs About Fucking". It sounds as nasty as ever. I also managed to find a use for some low output germanium Russian transistors (MP37). I made a hybrid silicon/germanium fuzz face, with a switching option for full germanium or half. Basically a high gain output, and low gain. I call it "the Hige Fuzz". Hige meaning "facial hair" in Japanese. I think it turned out nicely. I made a few for some friends as Christmas presents. I've got an order to make one for sale soon as well. You can check out how it sounds with my crappy demo video below.I'm hoping to finish up a large much-option auto-wah. With attack-wah, auto-wah, and cocked-wah options. We'll see. On paper it seems like a good idea.
Saturday, January 16, 2016
2016 and Shows Coming up.
Man 2016 has been a bummer so far. First Lemmy then Bowie. Hard to sum up the impact those guys have had on me and millions of others. We're going to try to put together some sort of musical tribute to Motorhead at our(Godzilla Snacks) next show (Jan30th @Marcus). Inoue from Folk Enough has put together another festival April 29th at Utero. Probably about 17 bands in 12 hours, just like the last one. We had a blast at the last one.
Labels:
Bowie,
Folk Enough,
Freaks Live Myself,
Fukuoka,
Kurosaki,
Lemmy,
Marcus,
Motorhead,
Utero
Subscribe to:
Posts (Atom)