Project

[nevada150]

Hi Tony and Mick,
After having re-read Tony's information regarding non-fretted instruments I have to agree with the theory, in fact I'm going to incorporate the "fixed" bridge in my project.
Mick's comments bear out the theories too, so I'll bow to experience and knowledge. Makes sense really, I suppose I'm just too used to the infinite adjustments available on solid electric guitars.
I'm going to set up the project using the adjustable bridge initially to define the position for the fixed bridge, Then I'll remove it after making the required measurements and cut it back so that it's just a string anchor. The aluminium bridge will then fit into the space in front of it.
I'm really enjoying this project after having assembled a few solid guitars as a pastime, mainly easily available Fender stuff with modified electrics and pickups. Leo Fender certainly used his head in his simple designs, not detracting from Les Paul who produced to the same high standard.
My Lap Steel will have a humbucker with push/pull Series/Parallel switching and also a push/pull tone bypass switch. I did this on a Tele and the natural sound of the pickup/wood was incredible, it screamed.
In my "bits" drawer, I have 2 Ibanez Hi-Fi Super 98 humbucker pickups that I bought in Salmiyah, Kuwait in 1982 from the Ibanez guitar dealer. They've been in Strat' projects a couple of times and they are really "beefy ". They must be the ugliest pickups ever made, finished in what looks like brown plastic, but the tones they put out is great. They have a very arched top and were presumably made for Jazz guitars, however they must be compensated magnets because flatter style stringing also seems to work well. Once this project is finished I may look around for another piece of "plank" to fit one of them into.
I think this forum has a great depth of knowledge and information, so pleased I found it.

[nevada150]

Hi, it's Keith again.
I've finished assembling the Gibson BR4 project and I'm not completely happy with it! As the attachment shows, the pickguard is much more "in yer face" than I expected and far "outshines" the rest of the guitar. The beautiful "deco" fingerboard was meant to be the focal point of the guitar along with traditional body and sound. Never fear though, I have a darker piece of "tort" ordered, then it's back to the Black and Decker Workmate in the freezing garage again, brrr. Could bring it indoors on a sheet, but the "boss" might object.
One small observation which could draw some comments. The 4th string (GHS C6th Strings) doesn't seem to have the same projection as the others when I use the steel. Maybe it's my technique as I'm not really used to playing lap steel. I think I may need a bit more pressure on the steel along with correct left hand damping behind. Having said that, the sustain is very good when played unplugged and played on open strings, as one would expect from a 1940's piece of mahogany.
I tried to make it modern with humbucker series/parallel switching and tone bypass using push/pull swithches onboard, but the body cavity isn't deep enough to accommodate even mini pots/switches. Gutted!! So it's back to traditional sounds for the time being and that's good enough for everyone. (Could fit mini throw switches in the pickguard, just mulling it over)
I would appreciate any comment on the above post.
Keith.

[Tony Russell Davis]

Steel players aren't really adventurous with tonal variety. They tend to find "that sound" and stick with it - so you may not have lost much without the switching. Modern pedal steels don't even have tone controls - or volume for that matter, it's all down to the vol. pedal and amp. settings. So, no worries I reckon.

[mick hearn]

Hi
In relation to your dud sounding string - i had a quick look back and did not see strings mentioned. I don't know what you are using. I tend to use the string gauge chart on Brads Page of Steel. Its a pit more expensive to buy single strings but I think worth it. The gauges are such that the same pressure is needed on the bar to get sustain for each string. If one of the strings is a bit thinner, then that one will need a bit more pressure on the bar to get the sound. In other words it can slip around under the bar while other strings are holding the bar up. I hope this makes sense.

[Will C]

Keith, I loved the "desafinado" point. Nice line in humour. Good luck with the build, that fingerboard is bee-ootiful.

Will

[Tony Russell Davis]

Keith, I loved the "desafinado" point. Nice line in humour. Will

Obrigado. eu perdi que!

[nevada150]

Hi all,
Thanks for the replies and good information I received from a few people.
The project is now complete and has been played to the best of my limited abilities. I dumped the light pickguard and made another using darket "tort". I also bought some CTS pots and even I can hear the difference they make.
I've attached a picture of the finished job.
I also have an extended "loan" of a Gibson EH150 re-issue amplifier, courtesy of my brother, so I should be able to make some noise.

[nevada150]

Just the guitar.
Keith

[nevada150]

For Mick Hearn,
The strings used are a C6th set from GHS Mick,
6....1 they are:
C 036 wound
E 030 wound
G 026 plain
A 022 plain
C 017 plain
E 015 plain
and it's the G 026 plain that just doesn't sound as bright as the others. I'm going to go to my local guitar shop and get a set with the same gauges as the Morrell strings.

For Will C,
The fingerboard is from bruceweiart on eBay. His price was $80 and I offered $60, which he accepted. £37 shipped from Ho Chi Min city and the Abalone inlay on Rosewood is a work of art. Check out his site, there are lots of goodies there.

Regards to you both,
Keith.
Steeling doesn't leave fingerprints!!!

[WineRider]

Hello it's the franglais at it again. Frets Only in Blaydon do a set of C6th strings called La Bella (I've mentioned them before) the service is great and I, in my 'umble' opinion think that La Bella are one of the best in consistency ie: they sound the same each time I put new strings on and they hold their tuning also.
Gauges; E 15P, C 17P, A 20P, G 24P, E 28W, C 32W.

Prices are on the better side of good and as I have said many times before their service is rapid, especially to me in France, where it has been known for items bought in USA can be delayed or go missing altogether.

I think Tony is right about steel players sticking in a rut, but surely all sound is sweet to your own ear and if you like the noise and it suits your playing keep it. There are so many tones and ideas out in the pro world and very few agree on all of the ideas put forward...just look at all the different tunings, string thicknesses, add-ons etc. which are on the market and most of them are purported to used by this star or that only to find that the 'star' is not using the product although he or she have endorsed it, but the actual unit they are using has been specially made to his or her spec. Born out by Basil when he was heavily involved with pick-up design and manufacture.

My ideas are don't follow, be an innovator... make your own sound your own and play what you like and like what you play, by all means listen and absorb, but music is far more about the feeling you have rather than the way someone else plays it.

WineRider
Home made lap steel in wild cherry, Peavey Rage 258 with Jensen speaker, Mooer ShimVerb and a Morley mini Volume pedal. I still can't play it according to my better half, but it keeps me out of her hair and I just love the sound I make...it is surely different