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Zergle

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About Zergle

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  1. I'm pretty much a jazz player. A little bit of fusion, but nothing involving any kind of serious bends. I pretty much have logs for fingers and though I'm developing a lighter touch, I'm still fairly heavy handed.
  2. Thanks for the info folks (and a big thanks to TWANG as always.) I think at this point I'll just stick with the .10's. I may just go with another brand. I'm giving these new "super-spiffy" ClearTone strings a shot because they supposedly don't wear as fast. While it's true that I've been able to get a good couple of months off the last set, I can't say they are exactly miraculous. While they don't corrode like some other strings, they still loose their tonality. They look fine, but sound a little dead. When new they are also pretty damn bright. I want something with a much more mellow tone. Any suggestions on a super mellow/deep/round tone set in a .10 gauge?
  3. Pretty straight forward question. I've currently got a set of .10's on my Sheraton and am considering going up to .11's or .12's with a wrapped G. Should I expect a lot of intonation or neck issues? I assume I'll have to tweak the intonation a bit, but I don't want to have to jack with the truss rod. Should I expect problems with the nut or bridge handling the thicker strings? Anything I should consider before going to a heavier gauge?
  4. Yeah, I loosened the nut a bit, but not much luck. When I was tightening it I knew I had a problem because on the last turn it kinda "popped" and I heard what sounded like paper tearing. My guess is that it was something internal on the pot. Nothing critical though as it still seems to function. I was trying to tighten the nuts like that to bring everything more flush as it didn't seem all the posts came all the way through as they should. Probably not the best choice of technique though. I still need to try and figure out a way to get the jack higher. Even with the nut on, it's a couple of mm below the top of the nut. I think I need to push it out temporarily and shave the hole, but since I don't have anything tied to the under side of it, I'm not sure I could get it back in place properly. I still wonder how I managed to get everything to work on the first shot. I worry that in a few days from now one of my solder points will loosen and that will be that. However, considering the amount of man handling everything went through to get in place, if any of the points were going to break I think it would have happened by now. If it happens, then it happens. At least this time I'll have a clue as to what to do. (And what not to do.) I think I'll just leave the treble bleeds in place. Eventually I'll replace the pups and will want that kind of control with warmer pups. I don't think I want to take the chance wiggling ANYTHING in there right now. ;-)
  5. After many delays from the postal service and issues on my end, I finally got my pots, jack, and switch changed out in my Sheraton II. TWANG was kind enough to get everything wired up for me in a template and sent it over for me to install. I had to do some tweaks to the wiring to get it more to my liking, but nothing outrageous. TWANG did a good job putting it all together for me. Saturday I finally got to find out what it means to re-wire a semi-hollow guitar. Here are the most significant observations I came away with: - The factory pots in mine were enormous. At one point I actually wondered if they installed everything before they finished putting the guitar together because I had a heck of a time getting them out. The posts were metric sized of course, but the bases were just as fat as the full sized CTS pots. Thank goodness I went with Alpha minis. Still, if you go with the larger pots, you should be able to manage, but it may take some creative wiggling. - The wiring in the guitar was abysmal. The wires were about as cheap as you could get. The solder points were decent but there were extremely long pieces of ground wire sticking out from the connections. (Literally an inch of ground wire hanging out past the ground point on the back of one of the pots.) Everything was still connected, but not particularly clean. - The pots were in pretty bad shape. Significant corrosion on all of them. - Though the holes were metric and the pots/jack/switch fit they were VERY tight. It might have been a good idea to open the holes just a hair with a file. I had a heck of a time getting the jack far enough through to secure the nut. I still don't think it's out quite fr enough, but it's functional. Thank goodness I followed a suggested method and tied a string with a washer on it to pull it through. If I had just used string I never would have gotten it in. - Don't be a dork and over tighten the nuts on the pots like I did. The bridge tone pot got one too many cranks and now is extremely tight to turn. It still works, but it's clear I over did it and screwed it up. - The wire from the pups through me off a little. They were single wires. The hot was the main part of the wire while the ground was the insulation on the outside of the wire which had to be peeled back and gathered together to make a connection. If I hadn't looked at how things were initially wired, I probably would have missed it. I'm sure if I had read more I would have figured it out, but I just didn't remember seeing any diagrams with a wire setup anything like that. - I left the original pups in. Now that I have the full range of tone from both, it's clear that these are pretty lousy pups. The neck is decent if I pull back the tone about half way. The bridge though sounds like a tin can. Even with the tone pulled way down it's incredibly tinny. If I pull the tone all the way down it gets so muddy that it's almost pointless. In the middle position I can get somewhat ok sound, but it's still way too tinny to be practical for jazz. I just hate the idea of spending $200 on 57' classics though. It's tempting to go with the GFS pups, but I'm hesitant. As my mama said, you get what you pay for. - If I do replace the pups, I'm taking the cheat method by splicing existing wire. I never want to pull those pots out again if at all possible. Using string to run things through helped, but it was still a pain. Plus, I made the mistake of not wrapping some of the runs so things got a little tangled. In addition, the string I used was crap and frayed really bad in the process. - As others have pointed out, and I didn't listen to, if you are going to do the pots then do the pups. The original pups sounded terrible to me. They never sounded great, but a lot of that was due to the fact that I pretty much had no tone control with the old stuff. Now that I have the full range, blech! Oh well, lesson learned on that. Overall, would I do it again? Probably, but if I could have someone else do it cheaply I'd probably go that route. Getting everything into the guitar was the hardest part, but the soldering was no cake walk either. It's tough to wire your template all together with two caps (one from vol to tone, and another treble bleed) then solder on the pup wire on top of that after the original solder. Still, I'm no rocket scientist and managed to do it. I was convinced that there was no way everything was going to work on the first shot. Amazingly though, it did. No buzz, no hum, and no static on the pots (except a little when I turn the messed up bridge tone). Anyhow, thanks again to TWANG. We had some issues with snail mail getting everything to me, but the work he did was excellent quality. There was a minor mix-up on the configuration, but he stuck with me to make sure everything worked out. Seems as though it did!
  6. Page got me to pick up the guitar. Not because of the rock, but because of the acoustic stuff. From there, a lot of Alex Lifeson and then my hero Michael Hedges (RIP).
  7. I'm assuming the $100 is just the labor while the parts will probably be another $50-$150 depending on the pups you put in. I did a LOT of research on this before deciding to take advantage of TWANG and have him set up the wiring for me. The pre-wired sets you can get at places like Stew Mac and Mojo are nice, but they are around $100 and will likely require either drilling or some sort of filing to get them in the holes and/or through the f-holes. From what I've seen the ONLY advantage to going that route is to have everything pre-wired and the wiring lengths set just right. For me, I'd never soldered before in my life so that was my first fear. However, to get over that I went to a local electronics shop, got an iron and a couple of junior science kits that you can use as practice. After a couple of runs with that, I know now that I'll have no issues. If you've never soldered before, take that practice route before you try to do it on your guitar. Ultimately the reason I went with TWANG was cost, and because of the wiring. Not the soldering, but the wiring itself. Getting proper lengths, proper wraps, etc. To me, having someone who's done that part a few times would save me a lot of headaches later. So now I have a nice panel with everything wired and ready to be put in the guitar. A couple of solder points on my end to hook up the ground and the pups, and all is groovy. If you do it completely on your own, you should be able to get all the parts and wiring for less than about $50 at the extreme, plus whatever you spend on the pup. If it was me, I'd do it on my own. I haven't put everything in and hooked up yet, but I'm not concerned. Plus, I know EXACTLY what is being put in, how the wiring is, how everything is soldered...everything. It's peace of mind if nothing else. Having someone else do it...well...who knows what they'll put in there. As TWANG and others will tell you, pots are not just pots. There are significant differences in quality of construction and feel between each. Also bare in mind that most shops are going to have a bit of a prejudice against Korean made guitars. They'll use cheaper parts and will probably do lesser quality work on them because they perceive them as inferior. If you do have a shop do it, make sure you know what they are putting in and the reasons why. If you get the impression from them that they don't think it's worth the headache putting good parts in that particular guitar, then I'd go elsewhere.
  8. Oh good. Now I can insult the soldering on those pots without slamming you. I just got my stuff from TWANG yesterday and I'm anxious to get started. Unfortunately I have to wait until this weekend, but it's on the top of my list. Looks to me like TWANG did a great job wiring everything for me. Shouldn't be any problem putting it all together.
  9. Dude! That's my guitar! LOL! I'm about to do almost the same thing. All the pots, the jack and the switch at least. Pretty much an identical guitar. Color, style, only a year or two off. Nice. You mentioned you used CTS pots. Didn't you have to drill out the holes for the pots? I saw you had to do some filing in the f-hole, but everything I ever saw said you had to drill the holes out for CTS pots to expand them from metric to standard. Ol' TWANG here is hooking me up with my set up, but we went with Alpha mini's to avoid drilling. If USPS is nice, I hope to get everything tomorrow.
  10. Thanks for posting your progress and the great pics. Very educational! A couple of questions if I may... What kind of caps are you using and why did you go with them? Where did you pick up the Alpha mini's? Would you be willing to post an "extreme close-up" of some of the wiring connections to the pots? It's hard to find good close ups of what the back of the pots should look like when everything is wired up. I noticed you didn't run strings for the volume pots and the switch. Are they just that easy to access to where you didn't think you needed it? Have you run into anything yet that in retrospect you might do differently next time? (Other than getting full size pots originally instead of the minis.) I'm especially anxious to hear how things go when you run everything back through the F-Hole. Thanks for this thread and keep it coming!
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