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vomer

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  1. None of that explains the situation albatross describes. You're confusing a relatively simple wiring difference with the nuances of pots. "50's style" wiring = independent volume controls. "modern style" wiring = in the middle position "if EITHER of the volume controls is set to minimum there is no output at all."
  2. Welcome Albatross. Sorry mihcmac but what you said is not correct. It doesn't matter what pots you use or whether there is coil tapping, it is to do with the 'style' of wiring. Usually referred to as 50's style or modern style. There's a Seymour Duncan blog post which explains it here.... Edit: that's not that well written, but it gives the general idea. You could google for similar and get a clearer picture.
  3. Had a reply from wdmusic in the UK, "Definitely 73mm. This bridge has fitted some other customers Samick Epiphone's but not others so if your one is 72mm then I wouldn't advise buying this unit. We don't have any at 72mm unfortunately." And a reply from the ebay seller latexandleather who says they are definitely 72mm. Watch this space...
  4. Mihcmac, that's fantastic, thanks very much. Edit to add: The listings on wdmusic.com and wdmusic.co.uk are slightly different. On .com there is no post to post measure given, on .co.uk it says 73mm. I've emailed wdmusic.co.uk to ask. (The ebay listing says 72mm.) I also saw conversion posts by Kluson for Samick so you can put a US fit bridge on. It's great to see these, I googled a lot, earlier today but it looked like everyone stopped talking about Samick bridges around about 2010! So someone at Kluson somehow become aware of the problem. And hopefully has fixed it. I'll post again if I get a definitive answer from wd or Kluson.
  5. It's been a long time since I looked for an aftermarket bridge to fit a Samick Sheraton, and it always used to be that there were no direct fit replacements available, as the old chunky odd-looking Samick bridges were also an unusual post-to-post dimension. Does anyone know if there are any replacements available these days? Thanks.
  6. Not VSB, and not currently made, but if you can find one second hand, the 1954 Oxblood is the fattest Epi neck I've ever felt. They are a copy of Jeff Beck's '54, have humbuckers and a single wraparound bridge. They look great.
  7. Hi, nice looking Barney Kessel. And things I miss while playing these days: reel to reel and ciggies :-).

    Can you get back into the FDP OK, I don't think they can retrieve passwords.

  8. Hi, sorry forgot my FDP password. Here's a link to my Kasuga Barney Kessel pic.

    https://c1.staticflickr.com/3/2837/32968038551_8d5c63a886_b.jpg

  9. Hello Lord S. Good to see a familiar face! Hi apoc, yes, lots of previous threads here. My 2 cents, the 5102T was also released as the EA250, I believe it was the earlier version, some of which which had different 'staple' pickups. As Lord Summerisle said, definitely made in Japan, not the USA. Many of them had a Made in Japan sticker on the neck plate. I have an EA250, it's a very pretty guitar, I like the sound when it's boosted a bit, the pickups are very low output but give a nice retro 60's tone. Great action and very easy to play with the slim neck.
  10. What slk said. Nice looking guitar, would be a shame to start out with a ding, particularly one where paint is removed.
  11. Are you getting any sound from the bridge pickup when the selector switch is in the middle position, and both volumes are turned up? If so, this is normal, and both volume controls will affect both pickups with the switch in the middle position. There are two basic ways to wire 2 humbuckers/ 2 vols which will either have the volumes operate this way, or have 'independent' volume controls. If you aren't getting sound from the bridge pickup when the selector switch is in the middle position, and both volumes are turned up then something else is happening. Let us know what happens in each switch position?
  12. Yes, welcome and thanks for the info, very useful to know. I looked up a seller and the bridge is described as having, " A receiving hole for M4 Studs is designed as a "slot". Therefore, our bridge fits as a replacement for stud spacing of 72.6 mm to 73.6 mm (center to center)." Obviously some room in those measurements. Glad to hear you got yours sorted.
  13. Thanks, interesting, never come across that. I'll try it. I'd heard this wasn't a good method, physics and the imperfect nature of pitch vs. string length. Yes if we take it to the realms that Buzz Feitin does. But for us ordinary mortals with ordinary nuts, I'd still stand by the usual method of having the strings leave the nut at the edge by the fretboard. What I understand from this is that if you set the intonation using your method which gets you playing in tune along the neck, you might find 12th harmonic doesn't equal 12th fretted. Whereas I would be starting from that point, and trying to make everything work from there. No argument there, that's what we're aiming for. Thanks rct, interesting stuff.
  14. Could you tell us your method? Sorry, I don't understand this. By definition, the 12th fret harmonic is the octave of the open string. How does a harmonic "begin sharp"? The string can't "stop too close" to the fretboard if the nut is in the correct position, and if the frets are in the correct position. As I said above, if the nut is cut incorrectly so the string leaves the nut somewhere further back than the fretboard edge of the nut, it will affect the intonation of the guitar; the frets will be relatively "in the wrong place". This is why: Imagine we have a guitar with a moveable nut and moveable frets. Lets say we start out with a scale length of 30". The 12th fret is half way along at 15". If we move the nut 1" towards the headstock to give a scale length of 31", then the 12th fret will need to be moved the same direction by 1/2", to 15 1/2". If we move the nut but don't move the 12th fret and leave it at 15" from the bridge, the string fretted at the 12th fret will be 1/2" short, and sounding sharp relative to the octave and the octave harmonic. This is why mfowler should check his nut, as this is his symptom, the fretted 12th note sounding sharp relative to the open string and the mid-string harmonic. Could you explain this further? The centre of the string being the 12th fret, a place we can fret, or am I missing something? Thanks.
  15. You can't intonate a guitar without using the harmonic at the 12th. This will only affect the intonation, not mfowler's problem. Not too close, too far away. I should have remembered this, check where the string leaves the nut- it should leave at the edge closest to the fretboard. The slot should be cut with a downward sloping curve away from the fretboard edge of the nut. It's not about the intonation. So, the bridge isn't in the wrong place.
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