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In mid ‘59, once they’d realised the design flaw, they moved the pickup route 3/4” back from the end of the neck to try and combat it. Is yours further back that that?
(formerly miserneil)
One and the same!
I'll measure mine over the next few days - it feels further, but that might be me!
If you would @peteri that'd be great, would be interesting to know where it finally ended up!
(formerly miserneil)
http://www.jerrock.com/66/les_paul_special_DC
It does look like both pickups moved closer together in that photo. Didn't notice that at the jam Peter - thought it was just the neck pup that had moved. Unless yours has the bridge pup in the original position?
Edit: actually (by the power of google translate) it says they went to a compensated wrapover so the bridge on the '62 version is not slanted toward the pickup on the treble side. Makes it look like the pickup has moved.
It also puts into perspective the recent discussion on SVL guitars when people can see bodies and necks being made from scratch with such attention to detail.
The long grain join on the bottom is really your primary glue surface, the sides help it all align and add some strength. The only structural thing the end helps with is forward tilt as it provides a bit of support, but that ain’t gonna be an issue on an unmolested junior.
It does make a good stop so you know you are glueing in the right place.
Mine always meet meet the end, but I do trim the corners slightly. It gives a handy way for excess glue to escape and takes away the trickiest bit of the fitting. Literally cutting corners
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Surprised it looks more!
(formerly miserneil)
From research, in the 50's Gibson used a simple 'T' bar that was held against the nut at the thin end of the 'T' and the cross bar of the 'T' was where the bridge holes were drilled. Hence why the bridge angles on the guitars varied so much and some need the grub screws fully in for it to intonate. It was all dependant on who was doing the drilling and how conscientious they were....and if they'd been to the pub for dinner...
But, hey, it worked and they made some incredible sounding guitars with that method so i'm not knocking it at all.
My method here is slightly different and may draw some gasps from the crowd...( )....as it's a bit Heath Robinson and I thunk of it all on my self...
Firstly, I drill for the bottom strap button and attach a 'T' shaped bracket which I have drilled two holes in for the 2 E strings.
I attach the machine heads and pop a nut in place then string up both E strings. I also place the P90 in the route. Next i reach for my patented 'Ivison Bridge Location Jig'...
I seat the bridge on the jig....
...and position it under the strings and measure the scale length. With this jig I can adjust the bridge until I get the intonation spot on and I can also make sure the strings are positioned perfectly over the P90 like so:
Once i've checked, double checked and triple checked the intonation and position, I screw the bolts down (which I have ground to a point)...
And it gives me two marks on which to centre my drill bit:
Next, over to the pillar drill to drill the anchor holes:
Once I have both the anchor holes drilled, I drill a small hole into the treble side anchor for the earth wire:
Then I use the pillar drill to press in the anchor studs:
Which brings us to here:
And we're almost ready for some grain filling...but first we sand!
More soon!
(formerly miserneil)
(formerly customkits)
as above, I often use a trapeze to hold the strings. But I really like the addition of the bolts for marking position
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I presume you are not using a 1950’s glue pot and tight bond for the neck joint. Obviously the whole hot hide fish protein glue etc has been hyped to death by the big companies do you feel there is merit in using this type of glue or anything that locks it in place.
Doubt i I could hear any difference between glues lol
Loving this build thread btw, great stuff.
My head said brake, but my heart cried never.