Slightly tongue in cheek title, but just an observation about quickly and easily the excitement for a new purchase or build can evaporate.
Do you remember this double cut I was using to experiment with staining then slurrying (and in my case then varnishing)?:
Well - it's finished
...and it's beautiful
...and I have no enthusiasm for it anymore:
I WILL learn to love it, but at the moment I just see the things that are NOT right, rather than the things that are.
And the reason?
Suppliers - good, creditable ones - who don't put stock availability on their ads or flag before you buy that you should phone or mail before placing an order to check whether they do actually have stock of the items they are promoting.
So, having got myself in a flurry of excitement - and a slot in a fairly full diary - to get this finished, I pushed the boat out to go for a Lollar P90.
Went to a very respectable and well-respected supplier and placed the order. After Paypal had taken the money from my account came the news that it wasn't in stock and would be 1-2 weeks. Irritation but, well these things happen.
9 WEEKS LATER - after me having to do all the chasing, with a part complete guitar in the way and my time slot gone - I've finally got it. To make matters worse, there was, in that delay, time lost because the pickup was shipped from USA to a UK distributor (yes - I thought this well-respected supplier WAS the UK distributor!) to my supplier before sending to me.
Call me picky but, had I known even of the 1-2 weeks, I'd just have ordered direct from the US and got it in a week.
Flaming irritating.
Rant over.
Comments
Hopefully they will have understood that leaving a customer waiting for 4 weeks without any contact, then when the customer chases them respond that they will chase up but then do nothing and then after another couple of weeks when the customer emails to say that he will have to cancel the order if there is not SOME definite news and then finally start updating the customer even though it will still be a couple of weeks before the pickup gets to their UK supplier for them to send to themselves and then send to the customer is not great customer service.
They added a couple of freebies in the package and the owner did try to ring in the latter stages, but to misquote another song title, 'The Thrill Hasd (already) Gone'
Also hopefully every supplier who peruses this forum and doesn't have any indication of stock availability on their websites but nevertheless allow online immediate-payment transactions thinks it's them
I couldn't stand to look at the Jr tbh if I was you.
If it helps I'll give you a nifty and take it away..
Despite the issues - as per you've done a wicked job
Ash is always your pickup friend
Also, I'd love to claim credit, but the build is one of Grahame's at GSPBasses
I bought it off Grahame mid last year as a 'quality reject' (I know....puts my very, very best to shame). The radius on the edges is apparently oversize but I tell you...build quality is AAAAA
I'm pleased with the colour, though. And I've been playing it all afternoon after making an electronics tweak...I'll post some more about that this eve
Anyway, the reason I went for the Junior in the first place was self-educational. Although I'm sure you are all past masters at it, I've always been intrigued with the '50's wiring approach and the 'all you need for any tone you might want is a volume pot and a tone pot' expertise. I confess, I've generally been one of those 'Volume always on 10 and tone at 8 if I must but 10 is better' heathens.
I'd watched the splendid video @ChrisV did in his days at Guitarist magazine on the s/cut Junior and the tone possibilities and realised that there was a reason that those volume and tone knobs actually turn round !
So I opted for conventional-wisdom standard everything - 'standard' 50's wiring; a 'standard' P90; an oil and paper cap (black beauty rather than bumble bee as the latter seem to be only sold in pairs); a Les Paul Jnr, albeit the pretty double-cut one.
Here was attempt 1 with the wiring. Probably my neatest to date:
...and this was one of my niggles when me and the double-cut had our lover's tiff. The tone pot was a 'vintage taper' 250k and the volume a 'modern taper' 500k.
Tone worked well, volume was FAR too off or on to get the subtleties I was after.
So this afternoon, I desoldered the volume pot and put in an old PRS pot in instead. I don't even know what resistance it is because there was solder on the back, but it is a MUCH flatter taper.
That tickled the spot
i am just finishing my DC junior. The red stain was nice but competing wood grains made it look odd.... So I have done a black overspray with the intention of relicing through it all
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i look forward to seeing the finish you're putting on yours
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Been playing it this morning. Gradually becoming very pleased with it
Still trying to decide whether to oil finish over the top or ronseal like last time
Basically the top photo in this thread is the stained and oiled finish (slurry and buff) that I did to see if it worked OK (and it did) but then I was always going to eventually gloss this, so it was then Ronseal on top.
Worked a treat
I really like the feel of an oil finished neck but the ronseal worked a treat on my tele and I loved the finished result.
The neck on this one has been left as just the oil finish: