Hand Tools

Subject:
Re: I don't even know that much..

Mike In Los Angeles
I think it’s nuanced and it depends what you’re doing. I go pretty deep into it with people who come over and consistency is the furthest thing from my mind, maybe tied with paint scratches.
I’m not convinced that the drive for repeatability proceeds from an aesthetic impulse, it seems like the specter of maximum resale haunts all these endeavors and suppresses greatness. The stakes are a little higher if this is applied as a metaphor to someone's interpretation of his own individuality in a culture. Some dogs don’t swim and you’d be a prick to keep throwing your dog in a pond, but people want to do that to themselves and their guitars.
If you had another tele besides the limba one that would swap necks, I think you’d probably be surprised how much of the sound switches with the necks. It’s even more with a bass I think. There’s no way to measure any of it but I think maybe 80 percent of a tele sound is in the neck at volume up to maybe a bassman at the point of output clipping. This is my strong impression after some decades of specializing in Frankenstein guitars, my fate more than my preference.
I think the thing to do is to mess with things a lot, work in batches if you can, be empirical, everything you’re doing. The reality of your belief is sure to come to you.
I also think it was stressed in school that nonferrous metals are not to be used on a grindstone, they made a big production about that.

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