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Post by lexluthier on Jan 2, 2019 1:32:36 GMT
Hi! In your price bracket the most popular choice (by a country mile!) is a Gold Tone Paul Beard Signature Series. I say this after many hours of my own research. It's a much asked question on forums especially in the US and this seems to be the concensus.
Chris
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Post by lexluthier on Dec 20, 2018 0:54:44 GMT
Hi! 30-35 years ago, through the haze of smoke and alchohol, I've just recalled playing a one off jam gig with really old guitarist (must have been more than 45!) I used his marble bodied SG bass. Gibson neck (bolted on), 1 1/4''(ish) white marble body like a butchers counter. He claims it was a rare prototype, I douted it but said nothing. I would have to make a guess at this point but it had to have weighed in at 20+ pounds I don't mind heavy guitars and indeed own a few myself, but that thing was outrageous! Chris
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Post by lexluthier on Dec 3, 2018 10:08:51 GMT
Morning! I was determined to amend my own post before you got to it but alas, too late!
After posting last night I got to thinking and bet myself Mikes tricone soundwells were maple or birch ply and I know you hold those in high regard.
I am suprised and now informed by your comments on wooden welled National tricones, which I knew existed but thought the general opinion of players was that they were a touch on the dull side of the spectrum. I will amend my thinking and the plans for the pipelined (wooden) tricone.
Many thanks Chris
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Post by lexluthier on Dec 3, 2018 2:19:49 GMT
Excellent! Thankyou for that.
It's hard to imagine(and imagine is all I can do) that anything but a steel sound well is going to sound 'right' as in my mind, the thing must ring. That is going to be a problem for a small maker as a pressed, single piece sound well is the way to go(IMHO) and that requires expensive tooling. I've been wondering for some time now if a pleb (like me) could get their hands on a pressed/stamped out sound well but it seems to me only tricone manufacturers will have them and getting one from them strikes me as unlikely. It's proving very difficult to just find T bridges and cover plates! I may have to compromise and brush up on my welding skills.(I have a non carbon fibre Tricone in the pipeline, if I can get those pieces!) Thanks again Chris
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Post by lexluthier on Dec 2, 2018 22:34:33 GMT
Hi! Thanks for the replies, great info and good health advice, note taken! It's obvious to see Alan was a fantastic engineer and craftsman, beautiful, beautiful guitars. My upcoming project is, at the moment, just focused on electric guitars where there is little tone consideration of carbon fibre outside of stiffness-sustain (tone wood advocates melt down now!) I've not been able to help myself however thinking about composites of CF with wood and or metal, so your comment about the sound well Michael has resonated with what I've been thinking and will reinforce my now ongoing thought exercise (all puns intended) I've no idea if I will ever get the time or opportunity to put any of this into practice but I doubt if I will stop thinking about it now. Inveterate tinkeryness plus Reso-itus, it's like GAS but worse! I've seen an odd few video clips of Johns Dark Art guitars featuring Ian, if anyone knows of any other vids or sound clips of carbon fibre reso's , please post! Thank you. Chris
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Post by lexluthier on Dec 1, 2018 22:19:06 GMT
Hi! Just starting a project to skin and/or build electric guitars using carbon fibre. I've been a fan of alternative materials since owning a Status mk II bass and, rather late to the game, metal bodied resonators. Anyway, this has put me in mind of Alan Timmins fantastic looking FI resonators. I've obviously seen a few pictures but I've been wondering how they sound and is there any videos, sound clips or recordings out there? Thanks, Chris.
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Post by lexluthier on Nov 24, 2018 18:12:22 GMT
Hi! Loving that Mister Marshcat! I'm casually looking for another example for Sunday best, another style 1 in great condition would be good, but I really aspire to a model similar to yours. Hard to find though, very nice Sir. Chris
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Post by lexluthier on Nov 23, 2018 0:32:08 GMT
Hi Revy! Looks great mate, the body's in much better condition than mine! After I got a huge rebate on the origional asking price I said to myself I was glad to have a none asian model that i didn't feel I had to be too scared of marking up. It's suprising how much it frees up my playing. If you're going to play slide on it definately get those heavier strings, 56-15s seems to be popular in this neck of the woods, I go for 59-17, really brings out the best in the guitar and I was suprised how quickly I got used to them. Your break angle wants to be about 5 degrees, when you actualy see this on a tricone it looks like nothing but it's just enough to fully activate the cones. Any greater angle stifles them and you get little bass or volume. Getting that break angle right is key to your tricones tone. After taking the cones out and putting the thing back together, it will take a while for the sound to come back to its full bloom as everything re-compresses, this is why the advice is given to re-string one string at a time. The more you play it, the better it will get, enjoy! Chris
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Post by lexluthier on Nov 7, 2018 1:00:21 GMT
Hi! Danny has posted on this forum quite a few time although not for a year or two, but including a few posts on this guitar.
As we can see from the text posted by Michael, Danny aludes to the fact that he replaced the fret board after the video/slideshow was produced and also, even then, wasn't happy with the sound and talks about 'taking her apart again'. I got the feeling that after alot of initial patience, care and attention, Danny may have got frustated and lost a bit of heart with the project. I had no idea he had sold it but that may tell us something.(Sorry if I'm misrepresenting!) This does speak volumes to how tricky Tricones can be!
All the elements of a great guitar are still there so it's just a matter of 'sorting it out'.
Definately fit heavier strings, resonators work best with load and tension on them. Chris
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Post by lexluthier on Nov 5, 2018 23:02:35 GMT
Hi again! The fretboard may have been replaced because some of these early examples seem to have been built with ebony(actually African blackwood) that wasn't fully seasoned and consequently shrunk and cracked, especialy around those 5 screw holes. Revys tricone puts me in mind of Danny Claybourne's. Danny had to replace the fretboard on his even after his initial rebuild, maybe for the same reason, I can't quite remember. I did wonder if this was Dannys guitar? Anyway Michael is right I'm sure, some patience finding the 'right guy' will pay dividends in the long run, its a nice guitar waiting to be great. Chris
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Post by lexluthier on Nov 5, 2018 2:20:55 GMT
Hi! The strap button has just been added by removing the screw, sliding it on and then refitting the screw. The same had been done to mine when I got. The neck block arrangement is unnecessary and (imho) a bit of a tone killer. Continental only used this device for about 6 months before they realised they didn't need it! Having this block removed and a rebuild/set-up by someone who knows(properly) what they are doing WILL improve the guitars volume and tone. Otherwise, just leave it be, more problems can occur in the hands of the well meaning but naive 'ave a go guy. Tone Heaven is in the details with Tricones. Chris
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Post by lexluthier on Nov 4, 2018 23:38:13 GMT
Hi Revy! Does your guitar have a large screw going into the body directly below the neck heel that then goes into a neck block on the inside? The small neck block will be visible through the latice-work grills where the neck stick enters the body. Chris
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Post by lexluthier on Oct 26, 2018 21:13:54 GMT
Hi! Yes you need a Tricone. I had an axe count the other day just to remember what I had tucked away. The count was 15 (to my suprise!) The Tricone will be the last to go if a purge were ever come or first out the door if the the proverbial 'house on fire' senario were to occur. Leeophonics suggestion of an early Continental is the way to go in my book. Dated between '92 and '96/7ish is what to hold out for, '92 and some '93s have a neck screw arrangement as seen on metal bodied Dobros and benifit from this being removed. I think all of them can be improved with a good set up. I believe its worth being patient and persistant searching for a good example to hove into view, and worth checking around Europe as well as here in Britain. Good luck! Chris
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Post by lexluthier on Oct 21, 2018 22:18:22 GMT
Hi! My lightning does the same thing but decided not to fix it until next time I have to strip the thing down, which I am in no hurry to do. As they say, 'if it aint broke, don't fix it', and it is not broke, it's just mildly anoying and I'd rather put up with it as is than lose the bedded in 'bloom' in the sound for any length of time.
Anyway..., I was slightly suprised to hear the advocation of Titebone in this senario. Titebone is the luthiers glue of choice for wood to wood bonding but as hide glue is traditional in this situation and is used on MMs guitar(all the ones I've seen anyway) why not just use it again? It sets hard in a situation that's more about filling/packing than it is glueing and is easy to reverse and reset in the future. Titebone, while not suffering from the shrinking problems you might have in the long run with hide glue, is not as hard but more importantly it's gonna be a b&$%h for the next guy to work on. Just sayin'..........
Chris
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Meazzi
Sept 27, 2018 18:42:46 GMT
Post by lexluthier on Sept 27, 2018 18:42:46 GMT
Hi! The guy in the video has a great Youtube channel with a plethora of weird and wonderful non American guitars demonstrated, highly recommended! For more Italian odities and some other great instruments, check this out........... Enjoy! Chris
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