Entering the world of light modifications

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Edika

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Hi all, I have finally decided to do some upgrades on a few of my guitars and I'll need the help of my fellow SS.org-ers. Some of these might have been covered in other threads and you might reprimand me for my laziness of not doing a sweep over the forum to find my answers but I though some people might benefit from my inquires below.

The changes I'm planning to do soon are mainly on pickups and electronics. I'm also planning to change parts like tuners, bridges, pots and string ferules so I though instead of making one thread at the pickups and electronics thread and another one here, I'll just make on here and ask all my questions and have a discussion on stuff.

My first and simplest mod is replacing the pickups in my Ibanez puzzle top. The Dimarzio/Ibanez are not bad but I've gotten tired of them. Plus the bridge pup, while, tight, is a bit scratchy and tiny. I seem to like big sounding pups and I've narrowed it to the Tone Zone for the bridge and the Air Norton for the neck. I don't have any experience with the Tone Zone but I loved the AirNorton 7 I had in my 7 string. Since it has an Edge Pro floating trem I'll be buying the F spaced Tone Zone.

My question is for this mod, since there is an F spaced Air Norton, is that for the bridge position or is it also for the neck position?

The reason I'm asking is because on the Dimarzio site the pole spacing for F space and regular spacing is uniform and it's not mentioning bridge or neck position. The same pole spacing diagram exists for the Tone Zone and the Air Norton and I know people use the Air Norton for the bridge too. I've also read that the distance of the strings changes slightly when the reaching the edge of the fretboard and I'm not sure if an F-spaced Air Norton is the correct way to go. Seymour Duncan seems to not have a Trembucker model for the neck position pickups which is leaning one way but complicates things too. The difference in inches is 0.09 or 2.3 mm between standard and F-space poll pieces.

That's one mod lol.

The second mod I'm planning to do is upgrading the bridge in my Carvin DC400. It has the Wilkinson VS-50 which, if not used, keeps the tuning with the Sperzel tuners. Vibrato is not a problem but diving brings the guitar out of tune. I'm thinking of getting the Gotoh-Wilkinson VS-100 that everybody is saying is vast improvement.

My first question here is whether the blades are actually more durable and if the bridge actually keeps the guitar in tune with the Sperzels when diving?

I have seen wear on the blades of the VS-50 with it having minimal use, just by sitting on the posts. The VS-100 in not as expensive as a Floyd but it's not cheap either.

My second question is, are there any tuners that are a drop in replacement for Sperzels that are good quality ad have a better gear ratio?

Sperzels do their job relatively well but are a pain to fine tune. As I don't want to drill and fill any holes in the guitar I'd rather keep them in though.
I'm still contemplating changing the color hardware to black as I'm sick of chrome. I feel it cheapens the instrument. I'm thinking to go all black, but since it's brown and has a gold logo I could go all gold. I'm just afraid I'll get tired of gold too and feel it gives it a cheap look too.

If I go all black is there an all black quality three way switch?

The Switchcraft ones I have found online seem to have only a black tip and maybe a black washer but the body seems to be chrome too. The same goes for mini switches, as it has three of them. I wouldn't mind keeping them chrome though and just changing the washers. It might look cool.

The last guitar I'm planning to slightly mod is a bit more of a feeler. One thing is for sure I'm planning to change the pups. The Duncan Design are acceptable and I like the playability but if the guitar doesn't sound quite improved with new pups there won't be a need for new mods.

First question would be, what is a good neck pickup to combine with the SD Alternative 8?

I found it at a good price and thought to give it a go. This seems to be quite high output and the classic neck pickups SD has, the Jazz and 59, seem to have a vintage output which I'm not sure they'll work well. Of course I can't know this until I've tried and I wouldn't want to put in the neck something that will sound harsh and won't give nice clean sound or work well in the middle position.
Since this is a Jackson KVX10 I'm thinking of upgrading the electronics too. I'm thinking of CTS log pots. However there are several models and it's a bit confusing.

Can someone that's using them in a Jackson give me the CTS models that will fit in there? Maybe the model number for the push/pull split coil function too?

I know I'll need to change the cap too (orange drop) and most probably the switch and jack. I can get a three way Switchcraft but I have no clue of a decent sturdy jack, so any suggestions welcome.
If things go well sound wise and end up keeping the guitar, I'm thinking of changing the hardware to black. If the chrome hardware look cheap on the Carvin they seem awful on the Jackson. Like plastic covered with this shiny chrome color. The Jackson tuners don't really seem to do their job correctly but the nut might be the issue. I do however feel that whenever I'm tuning the guitar that some of the tuners just need a slight nudge to go off tune, as they don't have enough "strength". I don't know if they're different quality from the ones in my DK2M, but those are behind a locking nut so they're not representative.

In this case is the Gotoh or Tone Pros bridge a direct replacement for the Jackson JT390? Since the Gotoh seems quite cheap is it of similar quality with the Tone Pros? If I'm going to go all black on the hardware, are the string ferules (string through body design) easy to remove without damaging the guitar or are they glued in?

That's all for now, these are the questions I more or less had. As I mentioned I already have the bridge pickup for the Jackson and I just bought the Tone Zone for the Ibanez. I'll be updating the thread with photos when I do changes and I'll try to record some sound samples before and after the pick up swaps. It might take me a bit of time as for the pickups I'm trying to source them as cheaply as possible. Also concerning the hardware changes they're bottom in my list as I can live with what's on at the moment and I need to finally make the decisions and gather some funds.

TL;DR: I want to do some changes in some of my guitars, I need some info, I will be posting progress but it'll take time as I tend to over think changes like these.
 

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Edika

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I think the wall of text with no photos really scared off people lol!

But if you guys could shed some light to my questions I'd be grateful.
 

Edika

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So a small update after almost two months of non activity. I managed to get a hold of a ToneZone and AirNorton and had them installed about a month ago. I didn't post anything though since I wanted to get some pictures with sunlight. However with a new baby in the house whenever I'd come back from work I'll just help my wife with the various stuff around the house. So I thought what the hell I'll take some for now and get some better ones when I'll have more time.



Immediately the more experienced members will notice something "wrong" here but I'll get to that later.


Impressions so far, I love this combo in this guitar. The ToneZone addressed all the issues I had with the Dimarzio/IBZ I had in this guitar. The honkiness in the mids is gone, the guitar sounds huge and, as a friend that heard it before and after said, it now has balls. Not that the Dimarzio/IBZ sounded bad as it took me around 3 years to change the pups but the bridge pup wasn't suited for this guitar. I've heard that the ToneZone tends to get boomy and mushy but that's not my experience so far. I do have this guitar in E standard and through a Marshall amp so that may be why. I find it really articulate and responsive to my playing.
The AirNorton has beautiful cleans (and the ToneZone surprisingly) and is as good as I remember it from the 7 string version. A little less hot and a bit more bassy but that might be because it was installed the "wrong" way.
I'm enjoying the tone of this guitar so much now that I almost have a difficult time picking up my other guitars. Almost.

Concerning the installation, I was considering doing it myself but since it would be the first time I did something like this I didn't want to try it on one of my better guitars. I asked around for a good tech and was referred to a guy. I gave him another guitar to set up first just to see if he's actually good and did a good job. However as you can see he plugged in the pups symmetrically and didn't install them like the norm. It's partly my fault as I didn't tell him how to install them and didn't notice it until I went home. The other thing I noticed when I tried to raise the pups a bit was that they weren't responding to the screws. They are just too floppy and moving back and forth and up and down the screws now that I raised them. I don' know if there was any foam or springs (on the screws) to keep them in place but they're not there now. Unless the holes on the previous pups were tighter and controlled by the screws. I don't know but I was disappointed when finding this out. I haven't called him yet but I'm not sure he can do anything I can't fix myself. In any case if any of the Irish members know any good techs around Derry send me a pm.

Next will be the Carvin as I'll be ordering soon the bridge and tuners. I'm still contemplating the tuners as I'm not that satisfied with Sperzels and I don't really want to give them £68. On the other hand I don't want to drill any holes on the guitar.
 

Alex Kenivel

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Hey. Good luck on the second leg of your adventure!

I'm liking that puzzle top!
 

Edika

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Hey man, thanks!

I'm liking the puzzle top a whole lot more now and I had more or less had decided this would be one of the three guitars I'd never sell unless there was an actual emergency!
 

pettymusic

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I can only speak from my own experience so, I can only answer a couple of questions for you.

Here's an all black toggle switch: GuitarElectronics.com - 3-Way Guitar Toggle Switch-Black Chrome

That's where I get some of my parts from.

As for the question about the f-spaced Air Norton, I don't think they make f-spaced neck pickups so, I'm thinking it's probably a bridge pup. I could be wrong though.

Good luck on your mods and have fun!
 

Edika

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Hey man thanks for the reply and the link. I'm book marking the link as I'll be ordering one for the Carvin most probably.

Concerning the F-spaced neck pickup, I'm a bit confused as Seymour Duncan doesn't do any F-spaced neck pickups. The AirNorton comes in two forms, regular and F-spaced and can be used as bridge and neck pickup. One would assume that the F-spaced is for bridge and the regular spaced for the neck. However when I searched ads and shops it'll be mentioned as neck F-spaced or regular spaced.
I finally went for the F-spaced just to be sure and it seems to be lining very well over the pole pieces. Not that it would matter much just for aesthetics as the difference would be minimal. I know that for Floyd Rose bridges it doesn't matter but I'm not sure if there is a difference in spacing on Ibanez tremolo bridges in the spacing from bridge to nut.

EDIT: I went the cheapish route and bought both used. They were in really good condition with plenty of lead and both of them cost just a bit over the price of the ToneZone.
 

Alex Kenivel

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.. And I just noticed the puzzle piece inlay!

I agree, you should never sell that guitar unless you sell it to me!

after taking a closer look it looks like there's a groove in between the puzzle pieces. That's really cool. Do you have any details about how that was done?
 

Edika

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Hey man, yes it is an awesome looking and sounding guitar and it plays effortless. From what I can tell they took a maple top and cut out the pieces accordingly as the flame maple grain matches well but there's also a bookmatch line in the center and the ovangol(a type of rosewood from what I read) grain is continuous in the pieces.I see a black line between the mahogany and the composite top so there might be an intermediate thin layer where the pieces where glued on to create a more uniform top. Then the top was glued most probably using the vacuum sealing technique.

Only 60 of these were made but there two more variations of the puzzle top made that is 60 guitars each. Some basic info can be found here RG20063 - Ibanez Wiki
 

Edika

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So after 6 months of me being too cheap to order the black hardware for the Carvin, while spending even more on new guitars :nuts: :noplease: :rolleyes:, I finally went ahead and ordered all the necessary parts to change all the yucky (for me) chrome parts to black ones. It was quite the adventure as I was trying to find the cheapest prices possible. I ended up ordering the Sperzels through the US and after tax and import duties they came the same price as in the UK :squint:.
Then I ordered the Wilkinson VS100 from an Australian site only to realize just after they posted that it was a Cosmo black trem :scream:. I contacted the guy as the picture he had was of a black one, I tried to find info on a Cosmo black Wilki but couldn't find any hoping it would be black, it came out as you'd expect. Cosmo black. So he was understanding enough and I've sent it back, got a refund (still waiting for border force to sent me back the tax I paid) and ordered another unit from a local store that had it about 45 pounds less than the other stores. It cam in a box with, but not the original box, however everything seemed legit.
I ordered black knobs that were lost in the mail but the seller was cool enough to send me new ones with no extra charge. Ordered Dunlop straplocks because that was overdue for this guitar.
Then I was left with the matter of the switches and the jack. Since there is some slight chrome parts with the black, I figured since I suck at soldering and there are too many things to rip out and replace, I'd just leave the jack alone as it has black rubber spacer thing and only change the mounting ring spacers and nuts for the switches. When I opened the electronics cavity I was reminded that the 3 mini switches are soldered on a circuit board, probably to avoid having too many cables and having a more tidy cavity.
As I couldn't find any of these parts individually in black, I contacted our number one UK hobbyist luthier (pondman in case anyone is wondering) for guidance. He said he never found these to be sold individually and suggested to roughen the existing mounting material a bit and painting them black. While his suggestion was good, I decided against it, as it would mean I had to find some place in the house to use the spray can and then leaving them to dry etc etc so I went ahead and ordered a cheap black switch and took of the mounting ring and spacer. I managed to find black spacers for the mini switches but not the thin hexagonal locking nuts. However it doesn't seem half bad like so.
So after all this annoying prologue here is the before:



and here is the after:








Please excuse the cellphone pics. Finding a sunny day in Ireland and the camera available is not that easy. One thing I was a bit bummed about is that the Sperzels are for an inline headstock without a tilt. Which means the high E and B are shorter and the low E and A are taller. The ones on the guitar had the same length, the middle length. While not all of the string opening is out on the higher strings, it's almost all out so the strings fit to go through.
 

Alex Kenivel

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Yeah man, I like that much better with the black hardware. I recently upgraded and blacked out all the hardware on a guitar and it instantly made it my number one
 

pondman

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Spam away :cool: that's a really nice piece.
Just makes me want to punch myself for selling mine earlier this year :scream:
 

Edika

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Coincidentally I was kind of thinking going with gold hardware, as the logo is gold and lately I find brown guitars with gold hardware quite sexy. But because I felt I might get tired of them quite soon, I went with the safe choice.
I really love this guitar for several reasons. It was my first expensive guitar and second guitar I've ever owned and the first I bought with my own money. It is quite heavy and is the heaviest guitar I have ever owned and one of the most resonant too. It's up to par with the Ibanez Prestige and Jackson USA I have. It is really versatile with all the options it has and the Carvin stock pickups that everybody seems to hate are really really good to my ears. It's the only guitar, aside from the one I have Blackouts in, that I have to lower the gain as there's just too much. It is a bright sounding guitar but not thin or brittle and has really good articulation.
I hear a lot of people being a bit "meh" with Carvins and how they sound so I won't say they're wrong. It probably seems I lucked out and got one of the better ones :).
 

StarbardGuitar

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Hey man thanks for the reply and the link. I'm book marking the link as I'll be ordering one for the Carvin most probably.

Concerning the F-spaced neck pickup, I'm a bit confused as Seymour Duncan doesn't do any F-spaced neck pickups. The AirNorton comes in two forms, regular and F-spaced and can be used as bridge and neck pickup. One would assume that the F-spaced is for bridge and the regular spaced for the neck. However when I searched ads and shops it'll be mentioned as neck F-spaced or regular spaced.
I finally went for the F-spaced just to be sure and it seems to be lining very well over the pole pieces. Not that it would matter much just for aesthetics as the difference would be minimal. I know that for Floyd Rose bridges it doesn't matter but I'm not sure if there is a difference in spacing on Ibanez tremolo bridges in the spacing from bridge to nut.

EDIT: I went the cheapish route and bought both used. They were in really good condition with plenty of lead and both of them cost just a bit over the price of the ToneZone.

I'm not sure if anyone else has answered your question about the F-spaced vs. regular spaced pickups, but I can at least chime in with my own experience. I've swapped many pickups out for DiMarzio's, and in my experience F-spacing is really only critical for the bridge. I've always gone regular spacing for neck pickups and it has always worked just fine and visually lined up on every guitar I've done so far.

As far as I can tell the F-spacing is really more of a visual thing, because I bought a regular spaced bridge pickup for the guitar I recently built which has a tune-o-matic style bridge, and since I positioned the humbucker closer to the bridge than most guitars, I should have gone with F-spacing for it to have visually lined up better. But it still sounds great, there's no difference in volume for the strings that don't perfectly line up with the pole pieces or anything. Hope that helps!
 

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Just so I don't start a new thread and clutter up the place with my noob questions.

Even though I sold the guitar I was planning to put the SD Alternative 8 I have, I have another guitar that I'm itching to try it on. It's my Ibanez VBT700 which I'm planning a couple of light mods anyway. Now the Ibanez has Dimarzio D-Activators which I like, but I have this set in another guitar and I like the sound in that one more. Because of the similarities of the tone though I want to have something different in there thus me wanting to try the Alternative 8 in there. Being slightly OCD on the matter I want to put another zebra style pickup in the neck and while I'm not against Dimarzio, a Duncan would make more "sense" (to my slight OCD on the issue) but being a cheap bastard that is a deal hound I'm trying to source them as cheaply as possible. No one is selling zebra neck SD or Dimarzio pickups lately however.

After this big prologue, I've found a zebra SD 59 bridge. Now the DC resistance of the bridge model is 8.2 KOhms which is not significantly hotter than its neck counter part. The EQ curve seems the same. So what do you guys think? Have you tried this and would it be a good idea? The Alternative 8 is a quite hot bridge pickup so the added output wouldn't hurt but will the 59 bridge sound good in the neck position?
 

Kashmir

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After this big prologue, I've found a zebra SD 59 bridge. Now the DC resistance of the bridge model is 8.2 KOhms which is not significantly hotter than its neck counter part. The EQ curve seems the same. So what do you guys think? Have you tried this and would it be a good idea? The Alternative 8 is a quite hot bridge pickup so the added output wouldn't hurt but will the 59 bridge sound good in the neck position?

Bridge position vs neck position doesn't really matter too much, the pickups will be wound in slightly different ways but are in no way incompatible for a different position. Dimebag used a '59 bridge in the neck position of his ML's without issue, you just need to flip the pickup around. Even I have a guitar with a Liquifire in the neck and a PAF Pro in the bridge, no balance or output issues there.
 

weirdoku

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I've seen those puzzle tops on the internet before but I just googled them and didn't realize they were thaaaaat raaaaare! Ultimate want!

Correcting the pups orientation is an easy job you can do yourself (if you haven't already). Providing the tech has left enough slack in the cable you can just unscrew the screws, lift up the pups and rotate them to the correct orientation. If there's enough strings around the tuner post you could even save the strings by only loosening them enough to give you some slack/room to lift the pups up to rotate them.
 

Edika

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During the weekend I did my first attempt at ebonizing the fretboard of my Ibanez VBT700. I decided to keep this guitar as I like the white color scheme, shape aesthetics and the fact that it actually balances with a strap. It is quite heavy for a V which helps it stay put. However the main thing I dislike visually is the rosewood fretboard. I like rosewood fretboard with natural wood colors, especially if they're the rich chocolate type. I can stand it with solid colors, depending on the solid color. But this particular fretboard is one of the most washed out pieces of rosewood I've seen in person.
The way most people do it is to use leather dye which stains the wood quite well. As I was checking the internet for some info and dye suggestions I came upon this which was interesting:

The guy talks about thre methods he tested in ebonizing wood, the classic vinegar-steel wool solution, the leather dye and using the india black ink. He favored the ink as a best solution, being more penetrating and being more resistent to external factors and UV. It is also fast drying and seems to give a pitch black effect.
So I gathered all my supplies, taped of the neck and loosened the strings and put them out of the way. However after a few tries and due to inexperience I pretty much didn't have the desired effect and ended up removing all the black pigment off the fretboard restoring it to it's former glory with a bit of residue just below the frets which I'll clean up on my next string change.
So here's what went wrong. This dye didn't seem to be absorbed by the wood that much. I was warned that the lower end Ibanez models have some kind of sealant on their fretboards and the general advise was to go through the fretboard with a 400 grit paper to raise the grain so it would be more receptive. I did that but maybe I didn't roughen the wood enough. So the dye seemed to stay on the wood. Maybe I put too much and aftet a while I should have cleaned up the fretboard. Mainly because this dye loved the inlays a lot more than the wood when dried. I thought mineral spirits would dilute the dye of the inlays but boy was I wrong. The mineral spirits actually did nothing to the dye and I then read on the box something about an ammonia soapy solution? Anyway the good thing is that the fretboard looked pitch black and it looked really good. Taking the dried dye of the frets was no easy task with the steel wool but even worse when going to the inlays the dye was removed quicker on the wood parts :(. Also when trying to smoothen the surface and do a second coat ot showed areas where it was absorbed better like blotchy spots a bit darker.
I tried a second and third coat with the same results. Clearing the inlays would clear the coat around them faster than the coat itself. Also after the third coat it looked like the fretboard was painted as it seemed like those terribly finished in one of the luthier nightmare projects. Of course if luthiery was easy everyone would be doing it well. So I didn't like the end result and with the wife giving me annoyed looks for dissappearing for a few hours at a time I took it all off and restored it to it's previous glory, for the time being. I really liked how it looked all black and I'm going to give it another go.
Now if I use the ink again I'm going to be cleaning the inlays and wipping the excess dye before it has a chance to dry. Or I'm thinking of trying the leather dye which is a safer bet. If a more experienced amateur or pro luthier can comment on this I'd be really grateful.
A few photos:
Fretoboard prep



First coat


Clean up of inlays and prep for second coat

 
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