83stratman
Groupie
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- 26
Top load, battery box in the back.
I didn't say Warmoth built it. I guess I can see how you took my question that way. Regardless of who built it, are you familier with it? That was the question.Warmoth doesn't typically build guitars, they build necks and bodies... The ones they build that I've seen have a headstock logo.
How would you end up with dead spots? I thought those were caused usually by resonances, poorly seated frets and that sort of stuff?The Problem with Warmoth builds is they are often specked and built by people with little or no experience and this can lead to poor quality detail work and ill advised components choice. In many cases dead spots and odd tone.
How would you end up with dead spots? I thought those were caused usually by resonances, poorly seated frets and that sort of stuff?
Nothing whatsoever to do with frets.How would you end up with dead spots? I thought those were caused usually by resonances, poorly seated frets and that sort of stuff?
How else are you supposed to pick them? Order multiple necks and bodies, see how they work together, return the rest?Nothing whatsoever to do with frets.
The issue is the neck and body resonance frequencies clash and cancel out or oscillate killing sustain in certain areas of the spectrum.
There are more considerations than looks with wood. Weight is still only part of the story.
Too many people just pick bodies on appearance.
Go and look on the Warmoth customer gallery ( if it’s still there. It’s like Homer Simpson’s guitar collection.
Nothing whatsoever to do with frets.
The issue is the neck and body resonance frequencies clash and cancel out or oscillate killing sustain in certain areas of the spectrum.
There are more considerations than looks with wood. Weight is still only part of the story.
Too many people just pick bodies on appearance.
Go and look on the Warmoth customer gallery ( if it’s still there. It’s like Homer Simpson’s guitar collection.
Yea, I have been wondering about who made it. It is reminiscent of a Schaller for sure. I don't want to deal with removing the saddles to take off the bridge to take a peek under to see if there are any markings. Who ever built this one did a great setup/fret leveling on it, it plays great with super low action and spot on intonation. I had to buy it, it was so cheap!That's a cool bridge. Reminds me of the Schaller 3D-6. Anybody know the name of that bridge?
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3D-6 | 1212
Schaller 3D-6 – patentierter Flatmount-Steg für Gitarre Verstellbar in Höhe, Intonation und Saitenabstand: mit Rollen-Saitenauflagen. Die Rollensaitenauflagen minimieren zuverlässig das Reißen der Saiten bei gleicher Intonation und Stimmst…schaller.info
Just like I am realizing that I think I might be using the term "fret work" differently than everyone else. To me fret work has always been how level the frets are enabling real low action with no buzzing. I think the rest of the internet uses the term for how pretty fret ends are.A fret would have to be noticeably loose to cause an actual dead spot. The other fret issue that people mix up is fret out or a poor clearance over an uneven fret level. These sound different and are usually repairable easily with fret work .
Too many knobs and switches! LOL. A guitar like that requires one knob and on switch!This is almost exactly what you see with Kiesel / Carvin builds. People select all of the most over the top options with little regard for how the instrument will look with all of those elements combined and the results are garish.
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Stick with predictable largely known quantities.How else are you supposed to pick them? Order multiple necks and bodies, see how they work together, return the rest?
That people pick terrible finish etc combinations is a separate problem.
It’s both.Just like I am realizing that I think I might be using the term "fret work" differently than everyone else. To me fret work has always been how level the frets are enabling real low action with no buzzing. I think the rest of the internet uses the term for how pretty fret ends are.