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Les Paul Jackson Cross

None of those things are true, with the possible exception of the fine tuners, which aren't an improvement in anything at all - they're a necessity with a locking nut. You may get to where you prefer to tune from the bridge, and that's fine if you can work with it. But, with modern hardware and materials that "feature" has been deprecated.

Face it: you have a large investment in that design so you can't be objective about it.
 
well... maybe you don't have or havent had  a properly set up floyd? my floyd' les pauls sustain longer than the regular trems, they sound better, despite same woods and pickups. and the story that 'finetuners are only useful with a toplock' is utter hogwash. the fact that you don't like floyds doesn't mean you have to go on a rampage against them.
 
Actually, the fine tuners are indeed only there because of the locking nut. Get rid of it, and there is no reason to ever use them.
 
line6man said:
Actually, the fine tuners are indeed only there because of the locking nut. Get rid of it, and there is no reason to ever use them.

There are hardtail bridges that have fine-tuners. They are in fact very useful even without a locking nut. You can make tuning adjustments while fretting chords in the middle of a song.

I'm not defending Floyds, just the fine-tuners.  I have three Floyd-equipped guitars, and although I have always been comfortable with them, I am growing tired of them simply because I don't do  much "whammy bar" stuff anymore when I play.
 
If you think you need to get a better grip on the strings, which is the only reason to scallop a fretboard, you might want to consider putting 6100-size frets on it. Those are some mungo frets, and you'd have to be The Hulk to run into the fretboard playing on those. They're the only thing I'll use, and they do exactly what you'd expect a scalloped 'board to do without the ridiculous carving that makes such a 'board difficult to play in tune.

Sorry, cage, but this makes no sense. Either you can play in tune, because the fretboard is helping you do so - or you can't. If big frets "do exactly" what scallops do, why be against scallops? :icon_scratch: (it should be noted that Yngwie Malmsteen, Ritchie Blackmore, and John McLaughlin - love 'em or leave 'em - are all noted for the impeccable intonation. Quite possibly because they're paying attention to it...)

The number of really out-of-tune guitarists diminished through the shreddy years, then the Seattle crowd seemed to go out of their way to value "passion" over ability. Playing in tune is one of those things - nothing sounds good until you have that. Which is one reason why "The Cry of Love" and "Exile on Main Street" are still so great, because for whatever reasons, Keith & Jimi tuned their guitars....

I love scalloped necks. And Bill Lawrence L500XL pickups sound like two really good Telecaster pickups side-by-side, they're one of the only pickups that have the power and brightness to work split, turned down, or with the tone knob backed way off - which makes them really, really versatile, if you're willing to do the work. Lawrence is an inventor, and he does funny things with the inductance so that humbuckers aren't mushy. The "BILL LAWRENCE USA" pickups made by the execrable thief Jzchak Wajcman are crappy, cheap-yet-expensive imitations, and the Seymour Duncan Dimebuckers are adequate, overpriced imitations.

Another thing the L500's do very well is take advantage of the type of wiring scheme Lawrence invented on the Gibson L6S, now copied by Ibanez, Music Man, PRS, Taylor and the dog's fleas - recombining coils from non-adjacent pickups. I greatly admire Lawrence's dedication to keeping prices down, he's just not a greedy guy. If he wanted to spend his life in court he could get millions for all the ripoffs he's endured, but he just doesn't care - he likes to play in his shop instead. Kind of like Leo Fender - another "bad" businessman in the American greed-uber-alles sense.

http://wildepickups.com/
 
That's pretty interesting stub. I have a pair of Dimebuckers I'm going to wire to a PRS 5way rotary. I think I need to flip a magnet though.
 
Yeah, I may have overstated my case. All I was trying to say is that 6100s are probably all you need if you want a more positive grip on the strings.

My experience with scalloped 'boards is old, and I wasn't as careful a player back then. So, my memory of that modification is less than positive. To be fair, if you'd have handed me a guitar with 6100s on it back then, I'd have probably had the same trouble I did with the scallops.

One really positive thing I can say about scalloping is that it adds a dimension to the grain on just about any wood that you'd probably not see otherwise. Check out this Kingwood over Maple part...

SN10939A.jpg

Kinda makes you want a scalloped neck even if you've never had one before.
 
Well, the scalloping is for a particular kind of playing - if you like to dance a lot while holding barre chords, jump off drum risers, find your playing is always "better" after a half a fifth of Jack Daniels - well, maybe don't scallop. Vintage frets are like crawling, 6150s are like running, 6100's are like a pogo stick - and a scalloped board is like flying. You OWN every note, and you can DO things to it. It's odd to me that the scallop guys are mostly known for speed, because it''s really fun for slow things. The only reason it's not S.O.P. for blues guys is probably the aforementioned Jack Daniels issue. And even sober people who you'd think would take to scallops, like Eric Johnson or Robben Ford, are faced with the grim task of singing while playing chords - yuk. Just to make a living playing music, ain't it grim out there.... :sad1:
 
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