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Quick question. Could this disaster of a binding be fixed? Would the cost be worth it? This is an ESP E-II, BTW.
The guitar is not mine, but listed for sale. I was interested until I saw that. I guess I don't have any way to know if it's dye creep or not since apparently the seller didn't even notice (he was the one that asked me if it's fixable).
I can't imagine it being anything else. It's not on the board, just the binding, and it's pitch black. So it's not glue or anything. But either case, a good scrape should clear it up if you don't want to just wait for wear to do the job.
So can't it be a terribly chopped binding? I asked for more pics just in case:
I meant chippedChopped? By what? How?
Even if they installed it and then sanded it flush it wouldn't chip out so finely and evenly across the whole board.
The surface that lays against the board is flat to begin with so I don't see why they'd mess with it like this. Even running over a file for better glue adhesion wouldn't be that bad.
When in doubt pass on it, but from the "meh" pics this looks more surface level from what I've seen in the past.
I asked this on talkbass and await info, so I figure ill drop it here too.
Richlite fretless fingerboards. Are they susceptible to the same high/low spots as traditional wood boards when mated to a maple shaft?
Mine has overtones and buzzy spots in many locations that can not be fixed with any value of neck relief and/or string height.
Wondering if it needs leveling or if there's some weird sympathetic resonance going on with the hardware or truss rod. I cannot isolate either confidently as an explanation.
It sounds like the notes in certain spots have way too much bloom/overtone.
So not directly luthiery related, but somewhat along that line.
I've [very] recently taken up woodworking and joinery as a hobby with the eventual goal of building my own guitar. Nothing crazy, just something that looks the way I want it, made out of what I want it made out of, that's remotely playable that I can pick up and think 'I made this.'
Which is likely quite a far away goal at the moment.
But, those of you that have already made that trek; share with me your wisdom. What did you learn along the way that was applicable, what came in handy? What techniques, tools, and nuggets of knowledge did you find most useful when you started building? If I'm going to be tackling a ton of projects to learn the ropes, I'd like to try and take stuff on that will teach me what I'll need to know when I eventually decide to try my hand at it. It's a whole new world for me that I'm just dipping my toes into so I am a blank slate at the moment.
A lot of you guys are wicked talented so I'd feel silly not seeking your advice.
Having a persistent problem with the Floyd saddle (OFR) on the low B string of one of my 7s. Once I start tuning up (not even arriving at pitch), the string starts to slack, eventually the wraps begin to unwind where it comes out from the saddle, rendering the string and thus the guitar completely unusable.
Clearly the general thickness of the 7th string is a contributing factor given that the other 6 are fine (and I've had milder such experiences with low Bs on other guitars), I've tried different gauges and brands of strings and the issue persists. I thought maybe I was overtightening the screws, but if I apply any less pressure then as soon as I start to tune up the *seemingly* secure string pops right out the saddle.
I bought the guitar used but it was fine on arrival, the problem only cropped up after I'd had it a few months.
Took it to my usual guy when it first started happening, he couldn't visually identify anything but figured there was a burr on the saddle and sanded it down (right through the finish to the metal) with abrasive cord, which fixed the problem... for a couple months. By 6 months later it's as bad as it ever was.
AB'd the saddle insert against other OFR inserts with 0 success. I'm using titanium locking screws with the stock inserts but I can't see how that could cause any issues short of the blocks themselves cracking, which hasn't happened - they're all structurally intact.
Stumped as to what to do. Floyd don't sell single low B saddles so I'd have to buy a whole set, which would be costly and wasteful - if I could even find a set to begin with.
The old trick for this is to tin the end of the string with some solder to hold it together.
I'm probably picking a guitar that has a recessed Floyd.
I'd like to install a DTuna on it as I'm planning to pick (in due time) 3 guitars and have DTuna on them and different tuning (E, Eb and D) because I don't want to keep guitars in drop tuning all the time as I don't like the feel of playing in drop tuning.
I looked around a bit and noticed that people usually put DTuna on Floyd that are not recessed, more on that, they advise against installing it, and I see the problem with the DTuna going to hit the body when pulling up the bar (except on the Washburn N4).
I'm probably never going to pull out wild whammy antics a la Vai, just subtle things and most of all lowering the pitch, so I wonder if anyone else has a DTuna on a recessed Floyd and if it is really a problem.