jacco
Well-known member
Ah yeah, so what's wrong with it?
Nice
- Thread starter Koubayashi
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Koubayashi
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jacco said:
Horrible gaps on each side of the neck.
I always thougt these had a lot of "string" in the sound.
Now I understand why.
Too bad I was too naive and believed in the hype before otherwise I would have had hundreds and hundreds of pics of terrible craftmanship.
japanstrat
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Well, I think they do have to leave a bit of room to adjust the neck angle a bit, like putting on a Strat neck and getting it right before tightening the bolts.
I think I've seen Gibson ones that are not too pretty either.
Tenons are all BS to me, as long as the neck doesn't fall off and the neck contacts the body in some sort of way.
I've got Strats with large shims in them because I installed a Floyd and the neck is making a fair bit less contact with the body then before and they still sound ok to me.
I think I've seen Gibson ones that are not too pretty either.
Tenons are all BS to me, as long as the neck doesn't fall off and the neck contacts the body in some sort of way.
I've got Strats with large shims in them because I installed a Floyd and the neck is making a fair bit less contact with the body then before and they still sound ok to me.
jacco
Well-known member
Koubayashi said:
Ok, can you describe the minimum requirements needed before you call a tenon joint 'good'? Please be specific.
Koubayashi said:
These what?
Koubayashi said:
Which hype?
It's not hard to come by pics of Burny's, I have around 900. You can show more of those. Search and you will find.
Koubayashi
Well-known member
Here is a 1993 Fujigen made Orville by Gibson 59ri.
Admittedly some of those pics don't look real good, but it would probably be good to get the opinion of a luthier to add to the discussion.
Surely there has to be a bit of a gap - for the glue? If the pieces fitted really tightly then the builder wouldn't be able to get a decent layer of glue in there.
Surely there has to be a bit of a gap - for the glue? If the pieces fitted really tightly then the builder wouldn't be able to get a decent layer of glue in there.
jacco
Well-known member
That's why I'm interested in what kind of tenon Fredrik thinks is good. He obviously isn't a luthier, so comparing his observations with that of a luthier would put things into perspective.
Koubayashi
Well-known member
Actually a mate of mine who is a luthier didn't like what he saw.
He thought it was a budget work.
And of course, these are mass produced guitars.
I have now mailed the pics to another luthier for a second opinion.
I mailed this guy: http://www.unicornbass.se/sve/unicornbass.html
He builds basses but the idea is the same.
He thought it was a budget work.
And of course, these are mass produced guitars.
I have now mailed the pics to another luthier for a second opinion.
I mailed this guy: http://www.unicornbass.se/sve/unicornbass.html
He builds basses but the idea is the same.
jacco
Well-known member
Still don't have your definition of a good tenon though.
Koubayashi
Well-known member
jacco said:
Wood against wood!
A 2mm layer of glue between two wood pieces surely must affect the tone.
jacco
Well-known member
Koubayashi said:
He he. There's a guy in Germany that does Historic makeovers (resetting necks) and apparantly the biggest improvement in tone is the use of hide glue. So I would say glue is an important part of tone, wouldn't you? :wink:
And: how much wood against wood, where, etc?
Koubayashi
Well-known member
jacco said:
You mean that there is a German guy making money from resetting necks and customers paying (i assume) top Euros for that. You see where that will lead
Its like when I meet people who bought expensive vintage guitars that were tampered with or not even original and they just won't see that their instrument is a fake or a non-original cause they do not want to accept that they been ripped off. A mate of mine is a researcher in the field of business psychology, he has a lot to teach us about this.Anyways, it depends on what tone you want?
Some people put their underwears in the cavities on 335's to stop the vibrations, surely the uws will affect the resonance in the body
But not everyone want that.
Well, I received a reply from the Swedish bass builder and he thinks the neck joints look bad and are not good for the tonal quality.
I elaborated and asked him how it should be done instead.
jacco
Well-known member
Fredrik, Florian J?ger, is a luthier too. And a very highly regarded one.
He does resetting necks of G****n Historics for they were not done properly. What makes that his opinion is worth nothing to you?
He does resetting necks of G****n Historics for they were not done properly. What makes that his opinion is worth nothing to you?
Koubayashi
Well-known member
jacco said:
I'm not saying he is not a good luthier.
What I am saying is that there is an economic aspect.
The only interesting here is what his opinion regarding the Japanese neck joints would be.
jacco
Well-known member
I don't agree; also interesting would be what he thinks of the influence of glue.
Koubayashi
Well-known member
jacco said:
Which is a part of this issue.
Well, rather the lack of glue is the issue cause there are gaps which aren't filled with glue.
If we say that a certain glue is A. better than another glue, B. better than wood on wood or C. better than a 2mm gap then we can come up with something.
jacco
Well-known member
I don't think you can pull these factors apart in this case. I think that first the importance of glue regarding tone must be determined before we can go any further.
Koubayashi
Well-known member
jacco said:
There are gaps without glue. Empty space between the neck and the body.
jacco
Well-known member
Which one do you mean?
Koubayashi
Well-known member
jacco said:
I can push a stick about 35mm into the gap on the left side on the Burnys and the ObG. You can see on the Custom and the Goldtop how long the gaps are.
