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Posted by: Phil66 Jun 21 2020, 08:51 PM

Hello folks,

I have 10s on my SRV Strat, I've down tuned a whole step and am now getting fret buzz. it'a a bit of a ball ache adjusting the truss rod on this guitar (vintage style). What gauge strings would give me the same tension as 10s at standard tuning?

Would I be better off adjust the truss rod instead of changing strings?

Cheers

Phil

Posted by: klasaine Jun 21 2020, 09:20 PM

12s will pull it back.
*They will feel and sound different though.

Posted by: Gabriel Leopardi Jun 21 2020, 09:42 PM

12 will feel really different. I would try first with hybrid gauges.

I would go for these ones and maybe adjust a bit your guitar strings action.

Posted by: Phil66 Jun 21 2020, 10:18 PM

Thanks folks, I've ordered some hybrids

Posted by: Todd Simpson Jun 23 2020, 07:02 PM

The hybrids are a good way to go imho They give the feel of heavy strings without putting tons of pressure on your neck. Also, they are not as hard to bend on the G and such. I have a pair of hybrids on my main axe from Yngwie and I love em.

Posted by: Phil66 Jun 23 2020, 08:17 PM

They've arrived, I ordered three sets, I'm going to re-tune the SRV back to standard tuning, take some measurements and change the strings. The setup was lovely from my friend. I never thought about it until I looked, but the trem has dropped a little, I guess I'll need to loosen the springs a bit to get it back.

If I capo the low E string at the 1st fret and fret at the 17th, the gap at the 9th fret is about five or six thou (.005"-.006" (.127mm-.152mm) so I'm hoping that the change in strings, slackening the springs and an intonation will pull it back sweetly.

Action at 12th fret on the low E is, 1.5mm (.059") and on the high E 1.25mm (.049"). The relative distance should stay the same across strings, if the action is too high or low I'll turn each screw the same amount to keep the relative levels the same.

I've just got the horrible slotted vintage tuners to contend with

AT 14:17 on the video below is a great tip for getting the trem how you want it without having to keep adjusting springs and retuning a whole lot of times

https://youtu.be/Q6aAAtYC9a4


Cheers

Posted by: Phil66 Jun 25 2020, 10:14 PM

Okay, further to the above post, I've took the old strings off, lemon oiled the fretboard and WOW that Pau Ferro comes up sweet.

Took the trem cavity cover off and was amazed that the cavity was varnished like the rest of the body, shame there was a lot of wood dust in the corners, 5 seconds with an airline would sort that, i its a £2k guitar ffs.

Having trouble balancing the trem height and tuning, any tips?

Cheers

Phil

Posted by: Todd Simpson Jun 26 2020, 12:07 AM

First tip as always is to give the strings a very good stretch. Until they "settle" they won't want to stay in tune. Also, make sure they are threaded and lock wrapped around the tuning posts so that they don't slip. I'm sure you've done all that already though Then it's time to get out that little alan wrench and start adjusting the height on the saddles on the trem.

Posted by: Phil66 Jun 26 2020, 08:49 AM

Thanks Todd,

I've tried tuning but it won't tune at the moment, I got them close, some are sharp some are flat some are spot on, I tune E, then B, E again, B again, G, then E, B, G, D, then, E, B, G, D, A, then E, B, G, D, A, E this is the only way I can get them close but once I get the low E in tune some of the others are out. I am tuning a whole tone down even though I said EBGDAE

Any tips?

Cheers

Posted by: Todd Simpson Jun 26 2020, 09:08 AM

Did you take this to a luthier to have him set it up for heavier strings? It costs a bit of money but not much and can save you a enormous amount of headaches that you sound like you could maybe just skip if you let someone else just sort it out and then got it back in good shape and focused on playing. But I get that you are an engineer and walk to work it out for yourself.

in which case is the trem set to float? if so, things are gonna be tricky. You will need to tighten the springs a bit as the tension of the strings pulls them out of tune. Finding this balance takes some time and practice, it's an art. You will get the chance to become an artist

If the trem is blocked, then you don't have to worry about all this.It's just a matter of stretching the strings and making sure they are properly wrapped/locked on the tuning pegs so they dont slip/drift.

Todd

Posted by: Phil66 Jun 26 2020, 10:06 AM

I don't mind paying buddy My luthier friend only charges £15-£20 for a full setup with strings but they're not open until July 4th.

As per original post, it was set up for 10s, I down tuned a whole step and was getting fret buzz, as it's a vintage style truss, you have to take the neck off so I asked if a set of 12s at the same tuning would pull the neck a little bit more, Ken said 12s would and Gab suggested going for hybrids.

I took all the strings off, gave it a clean, oiled the fretboard, that Pau Ferro came up sweet with some oil on put the strings in, didn't have a single issue with the slotted tuners, which surprised me as I did when I first had the guitar, the strings kept on popping out, but I followed that video above, great tips.

It's sitting on a stand now, settling down, the trem is set to float but I want it to only pull back about a semi tone so I'll adjust that as we go along.

I was just wondering if anyone with experience of changing string gauges had any tips.

Cheers


UPDATE:
Got home from work, tuned the guitar in two minutes using what I always do, 1. 1,2. 1,2,3. 1,2,3,4. 1,2,3,4,5. 1,2,3,4,5,6 whet 1 is the thinnest string.

Intonation was pretty close too. Trem is sat just where I want it, I don't fully understand why the action is higher though. I might look for a luthier course night class when Covid19 has calmed down.

Posted by: klasaine Jun 26 2020, 03:59 PM

If it's in tune and the trem is where you want it, the reason the action is higher is because with the heavier strings, you've got more tension on the neck. Hence, a little relief (probably).

Is it buzzing?

Posted by: Phil66 Jun 26 2020, 04:06 PM

Thanks Ken,

I haven't played it yet, I'm leaving it to settle some more, the action has gone up 0.020" (0.5mm) which seems a lot to me but I'm not experienced. I need to get the action down though, it's 0.080" (2mm) at the 12th fret. This is actually higher than with a set of 10s at standard tuning.

Cheers

Posted by: klasaine Jun 26 2020, 05:31 PM

- Floating trems can be a bitch.
- I personally don't dig 'hybrid' gauged strings because they exert uneven tension.
- Drop tuning exacerbates all of the above.

I'm not implying that it can't all work. It does for many players but it can take a lot of very finicky adjustments to get it there.

Posted by: Phil66 Jun 26 2020, 06:18 PM

I'll see how I get on with them, maybe I'll go back to 10s and get my luthier friend to set it up for D standard.

Out of interest, don't all string sets give uneven tension? Or do you mean that hybrids give more uneven tension than the guitar is designed for?

Cheers

Posted by: klasaine Jun 26 2020, 08:08 PM

Yes, especially with drop tuning.
Necks, truss rods, bridges, springs, etc. were all designed around standard tuning with what is considered a "normal" set of strings: 10 13 17 26 36 46 or one number lower or higher on either side. Deviate from that and you're introducing a whole bunch of factors and potentially issues that in some (rare) cases cannot be overcome. This is rare in modern, solidbody electric guitars but add in a floating trem and whamo - everything needs to be compensated now. If you don't have a trem, you'll probably have zero noticeable issues other than intonation. If you have a non-floating trem, you'll have very few issues.
*Both Hendrix and SRV spent hours with every new guitar they got - tweaking the trem, the bar and the truss rod because they tuned down. JH went to skinnier strings, SRV to heavier. Jimi was also a lefty who played a right handed axe so the trem spring issue was a big deal for him not too mention the tension from reverse order stringing on the headstock.

It all factors in ... exponentially.
Again and to reiterate, it can all be overcome and is overcome by many players all the time. A lot of modern builders also make allowances for this stuff.
Keep in mind that once you get it where you like it, if you decide to change your string gauge again, you will have to go through the whole process another time.

Posted by: Phil66 Jun 26 2020, 08:36 PM

Thanks Ken,

All interesting, after all that I had to adjust the truss rod in the end so I might as well have stuck with 10s I've learnt a lot doing this though, I would only ever go as far as adjusting action, truss rod and intonation though, I don't think I'd venture into fret dressing and levelling but you never know I certainly wouldn't attempt fret replacement, that's for the big boys that is.

I just need to adjust the action slightly on all strings now, I went a bit low. Now I've had the balls to tilt the neck and adjust the truss rod, I might try a set of 12s or 13s on my next string change, just to get closer to the SRV thing, plus it will give my left hand a workout

Cheers.

Phil

Posted by: Todd Simpson Jun 27 2020, 02:13 AM

It's good to experiment like this. It's the best way to learn imho. Hands on. Ken has a good point that you have a LOT of variables going on at the same time. Which is gonna make it tricky for just about anyone. I'm glad that it's finally starting to settle down! You can lower the saddles a pinch to get some action back like you like it to a degree. But yeah, the extra tension is probably pulling on the neck a bit and creating a pinch of relief at a guess.

Blocking the trem does make things easier with down tuning and string gauge changes just because it makes things more like a fixed bridge. But trems that can't bend up just are not quite as fun imho

sounds like you did learn a lot. Which is always a good thing.

Todd

Posted by: Phil66 Jun 28 2020, 02:02 PM

I've been thinking, I might either deck or block the trem, what are your opinions on both folks?

Cheers

Posted by: Todd Simpson Jun 28 2020, 06:09 PM

There is always the "TREMEL NO" as an option. Easy to put in and take off.

https://www.tremol-no.com/

Posted by: Phil66 Jun 28 2020, 07:17 PM

Thank Todd,

Yeah, I've got one of those on my Squire HMIII, the one with the crackle finish, I'm just thinking of blocking or decking or even double blocking to see how it goes. My luthier friend fitted the Tremol-no and did a full set up because the guitar kept going out of tune, I think the knife edges on the Scaller trem were worn so I bought a Tremel-No and took it in.

He hadn't fitted one before but he did say that if you don't need to swap between floating, dive bombing and fixed then wood is just as good.

I'm just wondering if any Strat players here had tried any of the methods.

Cheers

Posted by: klasaine Jun 28 2020, 11:33 PM

I have one Strat with the trem blocked.
If you don't need to use the trem, that's the fool proof solution and you can change your string gauge at will.

Posted by: Phil66 Jun 29 2020, 08:18 AM

Thanks Ken,

Is yours blocked on both sides of the trem or just one, if just one side, which side? I'm guessing the best side for most people is the side that prevents the trem being able to be pulled by the strings, I know some have it on the other side to allow dive bombs.

Cheers

Posted by: klasaine Jun 29 2020, 04:46 PM

Completely blocked. It might as well be a "hard tailed" Strat at this point.

*I am thinking about unblocking it though.

Posted by: Phil66 Jun 29 2020, 06:15 PM

Thanks Ken, I think I'll do that, so you have the trem against the body or angled? I think I'll have mine against the body.

Cheers

Posted by: Todd Simpson Jun 30 2020, 12:36 AM

Could always get an ibanez fireman with single coils and a fixed bridge! but it's not as handy as blocking the trem since you can alway unblock a trem and have it back as a real "strat". Not that blocked strats are "fake"Strats per se, just have had some of their design functionality removed usually for an issue like the one you are facing.

Posted by: klasaine Jun 30 2020, 01:20 AM

Against the body.

Posted by: Phil66 Jun 30 2020, 07:34 AM

Thanks Todd & Ken,

For now, until I get a bit of time and sort some wood out of my garage I've put five springs on it, didn't need to adjust the claw springs, it's pulled the trem against the body and it doesn't put other string flat when bending. I don't know about the sonic pros and cons.

There is fret buzz, action is 2mm (.080") on the bass and 1.5mm (.060") on the treble, relief is 0.25mm (.010") on the bass at the 8th fret. I'm trying to develop a softer picking style to overcome it a little.

I don't want to by a hard tail Ibanez Todd, even though it's a good idea, I just love the SRV, everything about it, the neck, the tone, the looks, the whole feel of it.

Once I've decided what strings I'm going to be using, 10s, 12s or hybrids, I'll take it to my friend and get him to set it up as it should be with floating trem and D standard tuning if possible, if not he can double block it, unless I decide to keep it how it is, if it works no point change only for sonic benefits.

Thanks for you help folks. Appreciated

Phil

Posted by: klasaine Jun 30 2020, 05:30 PM

I doubt you'd notice any 'sonic' difference. If there even is any, it is neither good nor bad. Just different.

Posted by: Phil66 Jun 30 2020, 08:24 PM

Thanks Ken, the cork sniffers out there debate it at great lengths

As a side shot, this video is interesting, I was thinking about this when I was messing but I'm not experienced enough to do it in 15-30 minutes like he says

https://youtu.be/Iy-F7iSIopA

Posted by: Todd Simpson Jun 30 2020, 10:02 PM

I laughed out loud at the sheer stone faced quality of that statement. Good one Ken.

More springs is a good plan Your guy will have plenty of tension to work with. He should be able to set it up to float and be in perfect tune and hopefully get rid of the buzz by adjusting various bits on the axe. Then you'll have the srv with the strings your looking for and it will detune just fine Hopefully.

Posted by: klasaine Jul 1 2020, 01:20 AM

Re: the Carl Verheyen vid ...
Yeah, you can get real deep with how to set up a trem depending on what you want to accomplish with. Some guys hook the springs up at more drastic angles like low E spring hooked to the claw closer to the A or D string.
My Xotic Strat will drop the G and B string down a whole step which is nice as I can get the 3rd and the 5th of a triad to move in tune. *Also, the Xotic Co. fashions their own trem springs because they like the alloy recipe from the 50s better than the current standard and they think that it enhances the tone and feel. YMMV on that.

Posted by: Phil66 Jul 1 2020, 06:13 AM

Thanks both,

Obviously once I'd decided to block/deck it the offset pull on the springs became irrelevant but, at first when I was messing and keeping it floating I did start to wonder.

The reason I asked about having the trem angled or against the body is that one video I watched was saying that some people still like to have angle on the trem even when double blocking, which I didn't see the reason behind, unless I misunderstood what the bloke was saying.

Cheers

Posted by: Todd Simpson Jul 1 2020, 07:58 PM

Once your luthier gets a crack at it, you may not need to block the trim. But, if you don't and you don't like the results, you can always have it blocked. SRV did make use of the trem now and then so blocking it would sorta keep it from being a srv strat like srv actually played. Here is a site about how he set up his guitars. I hope it helps As you'll notice, he did use 5 trem springs.

http://davidtannen.com/music/stevie-ray-vaughan/95-guitars-and-equipment/130-stevie-ray-vaughans-guitar-setup

----
Neck adjustment

With all the guitars, neck straightness (or relief) is the first thing I checked, sighting down the fingerboard. A fingerboard should either be dead flat or have a slight up-bow, known as relief, in the direction of the strings' pull. Stevie's guitars had approximately .012" of relief around the 7th and 9th frets, and then leveled out for the remainder of the board.
String gauge

Stevie tunes his guitar down a half-step and uses GHS Nickel Rockers measuring .013, .015, .019 (plain), .028, .038, and .058. On this particular day, Rene had substituted an .011 for the high E to keep down the sore fingers that blues bends can cause. Rene changes strings every show for each guitar that gets played.
Fretwire

If you're trying to evaluate action, it's nice to know what size and shape of fretwire is used on any guitar. Number One's frets measure .110" wide by .047" tall. These frets would have started out at .055" tall when they were new, and were probably either Dunlop 6100 or Stewart-MacDonald 150 wire.
String height

I measured the distance from the underside of the strings to the top of the fret at the 12th fret on both E strings. Rene Martinez describes "I set up all of Stevie's the same: 5/64" on the treble E string and 7/64" at the bass E."
Fingerboard radius

Knowing the radius of the fingerboard can help in setting up a comfortable bridge saddle height and curve. Stevie's Number One was somewhat flatter than the vintage 7-1/4" radius. Rene has refretted the neck at least twice, and in the process the fingerboard has evolved into a 9" or 10" radius in the upper register. This isn't the result of a purposeful attempt to create a compound radius, which allows string-bending with less-noting out; it just happened.
Bridge saddles

Stevie's Number One wants to break high E and B strings at the saddle every chance she gets. Rene showed me why the strings break, and how he takes care of the problem: As a string breaks out of the vintage Strat tremolo block/bridge top plate, it "breaks" or contacts, the metal directly; this causes a slight kink that weakens the string. With the bridge saddles removed, Rene uses a Dremel Moto-Tool to grind the holes edge until the lip is smooth and gradual, and any binding is eliminated.



Number One uses vintage replacement saddles (the originals wore out long ago), and they're not all alike --some have a shorter string slot than others. The high E and B strings may contact the front edge of this string clearance slot as they rise toward the "takeoff point" at the saddle's peak. The kink formed by the contact stretches into the saddle peak during tuning, and breaks right at the crown. Rene elongates the slot, again by grinding, and then smoothes any rough metal edges. Finally, he slides a 5/8"-long piece of plastic tubing (insulation from electrical wire) over each string to protect it from the metal "break points." He uses the heaviest piece of tubing he can get that still fits down the tremolo/block hole. Even with this, the high strings still cut through the plastic quickly (sometimes in one set), and when they do, the strings break. Rene plans to try a Teflon wire insulation if he can find the right size.
Nuts

Stevie's Number One, Lenny and Charley have standard Fender-style nuts, but Rene makes them from bone. Stevie prefers the sound of bone, although for studio work he had Rene make brass nuts for Scotch and Red.
Tremolo setup

Vaughan's standard vintage tremolo uses all five springs. Rene prefers the durability of the stainless steel Fender tremolo bars. He puts a small wad of cotton at the bottom of the tremolo-block hole to keep the bar from over-tightening and becoming hard to remove if it breaks. He emphasizes the importance of lubricating all the moving parts of the tremolo system, preferring a powdered graphite-and-grease mixture (the grease holds the graphite in place where it's needed). He lubricates everything that moves: mounting screws/plate; all string "breaks" and contact points, including the saddle peaks; where the springs attach to the block and claw; the nut slots; and the string trees.
Pickup height

As a reference point I laid a precision steel straightedge along the frets for making the measurement. Stevie's pickups were raised fairly high. I measured from the straightedge to the polepiece tops: On the treble side, the bridge pickup touched the straightedge, and the middle almost touched the straightedge, and the neck pickup was 1/16" away. The bass side measured 1/32" at the bridge pickup, 1/16" at the middle, and 1/32" at the neck.
Tuning machines

We've covered about everything except tuners, and there's nothing secret here. Stevie Ray's tuners are all originals, and each has three full string winds to get the best angle at the nut.

Posted by: Phil66 Jul 1 2020, 08:57 PM

Thanks Todd,

I tuned down a whole step because the lesson I'm doing (https://www.guitarmasterclass.net/ls/SRV-Chordal-Licks/) and some others on the GMC site are tuned that way, maybe all of them.

I'll have a talk with my luthier in a few weeks, we might be going into local lockdown here soon

I had a look for some 13s with a plain G but they're tricky to find, I found 12s with a plain G though.

I know I can't get it setup like "number 1" as this guitar was made for people to get close to the SRV experience but I can only do what is possible without my own private tech

Cheers

Phli

Posted by: Todd Simpson Jul 3 2020, 10:55 PM

I look forward to seeing you go full SRV!! I hope you guys avoid another lockdown. We are on the verge of more of those just about everyhere over here. It looked like we were doing better for a while, but then, as many experts predicted, we started seeing more and more spread. Now there are several countries in Europe that won't take flights from my country at this point.

Posted by: Phil66 Jul 4 2020, 09:01 AM

I don't think I'll be able to go to full SRV but I may go to 12s, it's a struggle to find 13s with an unwound G.

Going back to that angled claw, I'm not going to even attempt it but I am trying to understand the physics of it. I'm struggling to understand how you can put more tension on the low strings than on the high. I understand that the springs themselves will have different tension but, they all attach to a common block, the trem itself has two or more screws holding it in place so I just can't see how the tension isn't averaged out by the time it gets to the strings.

Being an engineer I'm embarrassed that I can't understand it but maybe being an engineer is making me over think it

Cheers

Posted by: klasaine Jul 4 2020, 05:36 PM

The strings also exert different tension from the first to the sixth which gets complicated due to the fact that the bass strings are wound and the diameter (and alloy) and overall length of the winding is different than the diameter and length of the core.

There is a good book on the physics of musical instruments (and sound) - 'Strings, Horns and Harmony' by Arthur Benade. There's a chapter on the piano and they go into string length, tension, material, windings, etc. It is truly fascinating.
https://www.google.com/books/edition/Horns_Strings_and_Harmony/J3NxAwAAQBAJ?hl=en&gbpv=1&printsec=frontcover
https://www.goodreads.com/book/show/1542369.Horns_Strings_and_Harmony

Posted by: Phil66 Jul 4 2020, 06:29 PM

Thanks Ken,

Yeah I understand that the strings and springs exert different tensions at the point of contact I just can't understand how you can affect the tension on different strings by altering the tension of the springs that are attached to a solid block which in turn is connected a set of string clamps and the whole assembly is connected to a fulcrum that only allows movement of the whole assembly at the same time in one plane.

I could understand it if the block and clamps were spot into six individual sections with a dedicated spring for each.

I think I need to get that book.

Posted by: Todd Simpson Jul 5 2020, 10:36 PM

I always thought it had more of a regional effect. E.G. Loosen the first spring and the first few strings are effected and so on. I usually keep a high level of tension on my strings so that there is very little back pull when pulling up the trem. I leave a bit just in case I want to pull up a harmonic but it's not set free float balance in the middle. I have done that on a few guitars and it does make tuning a bit of a pain especially during a string change. So I went toward a higher tension but not fully snapped to the back by the springs.

Posted by: Phil66 Jul 6 2020, 12:31 PM

It appears to work like that if you watch that video but that block that the springs are attached to is a solid block attached to the rest of the assembly above it, the trem can only pivot up and down, it can't rotate even in the slightest in the same direction as, say, the control knobs. this is why I don't get it.

I hope you can see where I'm coming from. I can't understand why loosening one spring on a solid block that is anchored to moving in one plane, can alter tension on one side.

I'm trying to think of an analogy better than this one but here goes. Attach a spring to one corner of a seesaw and attach that to the ground. No matter where you put that spring, ie, left, right or centre, the force required to push the other end down will be the same at any point on the edge. Attach three springs of different tension, the required force at the other end will be the total of the three springs wherever you push it.

I need a scientist

Posted by: Todd Simpson Jul 7 2020, 02:11 AM

Well, imagine the seesaw is wide. It's got 3 spring holding it but the springs are angled in. As opposed to another see saw that has five springs which are just straight. The one with three springs has a more focused reglonal impact based on tension as there are only three springs to balance all the weight. THe seesaw with five spring has less result when you loosen one spring as the other four take up the slack.

In general if you tighten all the springs once you get your saddles where you want them you can find the sweet spot to get the trem to "float". Make sure the strings are well, really well, stretched first of course

Todd

Posted by: Phil66 Jul 7 2020, 07:55 AM

I see what you're trying to say, but regardless of where the springs are on the one side, angled or not, the force required at the other side will be equal across all areas, the saddles are effectively sitting on top of the seesaw. Obviously my engineering brain is missing something fundamental here

Each saddle is independent of the others but is fix to the assembly. I'll speak to my luthier, when I get chance, he has an engineering background. Sometimes things are counterintuitive. I need to let this go, I'm losing sleep over it

I think my main point of misunderstanding is that I can't see how you can adjust the relative tension between the strings. Lets say, if, an I know it probably isn't but if string 4 has double the tension of string 1, if you increase the pull on the trem block to lift it up (floating) there will be more tension across all string the the relative tension will be the same, ie, 4 will still be twice as much as 1 (if it was in the first place but you know what I mean).

Maybe strings don't alter tension equally with increased load and there is a sweet spot that gives you the same result as that video whether you have the claw angled or not. That's what I'm starting to think now.

Cheers

Phil

Posted by: Todd Simpson Jul 14 2020, 07:34 AM

I really hate to say this as I know you want that down tuned SRV trem float with bass size strings, The easy trick? The string that feels tight? Take it down a gauge. Build your own set of strings using as many gauge packs as you want. The reason I love the yngwie pack is that it's actually like parts of 3 sets of strings. Each selected for a given purpose. I'm not saying put yngwie sets on your SRV, just that if one string feels heavy, put the next gauge down on and it's pretty much sorted. then you just have to find the float point on the trem Just a thought.

Posted by: Phil66 Jul 14 2020, 09:12 AM

Thanks Todd,

If I get chance I'm dropping it off at my mate's place, 12s 5 springs and a small amount of float in D standard. That should be okay for half step down too. If not I'll deck it

Posted by: Todd Simpson Jul 14 2020, 11:53 PM

Best of luck and have fun!

Posted by: Phil66 Jul 31 2020, 05:04 PM

Well the guitar is setup and ready to collect. Five springs, set with float at D standard, hopefully it will be okay at Eb standard too. I asked for Ernie Ball Not Even Slinky strings (12s) which he has put on. He said "Those sporting are heavy" and I said "it will be my gym guitar"

I'm embarrassed though, I asked him how much, he said £10,you don't need to work out the change rate if you know that the strings are £6.50 a set. Obviously he's going to be getting more than that though, as I've said before, he's more about helping people than making loads of money but I can't take advantage of his good nature.

Cheers

Posted by: Todd Simpson Aug 1 2020, 05:10 PM

Wow that's cheap. A setup with strings is about fifty pounds or so converted. I'd feel bad just at ten as well. It's not easy getting that perfect float point and with new gauge strings and setup the neck, etc.

Posted by: Phil66 Aug 1 2020, 06:39 PM

It would be around £50 at the music shop in my home town, he's certainly not getting £10, it'll be around £30, we've argued many times usually coming to a compromise, that's why I get him a gift of JD at the end of the year.

Any adjustments needed after a few days settling down, he won't take money for. He's one top bloke, he was the only uk Carvin dealer for years, he's sent Carvin amps to places for Steve Vai to do a clinic occasionally, sometimes you'd go in the shop and there'd be a Carvin head for sale with a diagram of the knob settings on a piece of A4 signed by the man himself.

He had a lovely Carvin V3m combo in once, in snakeskin Tolex that looked stunning. My GAS nearly got the better of me but looking back, it had too many knobs.

Cheers

Posted by: Phil66 Aug 3 2020, 08:43 PM

Well I fetched it back, had a quick play on it and it feels great, you have to fight it a little but it's sweet, it's sitting in the decontamination zone now for a few days

Posted by: Todd Simpson Aug 3 2020, 09:15 PM

Glad it's finally sorted and playing like a champ! The good thing about thick strings is that they will make your hand/fingers stronger!
Todd