I'm now an Oklahoma F-holer

[thorn]

This guitar vibrates from head to toe:

 

Well, the wait is over. The H 535 arrived Thursday in fine condition. I really wasn't in the market for another guitar, especially an f-hole guitar. But after I bought it I found out it was a laminate model, I called a buddy of mine about that, someone you all know and possibly respect, and he told me not to Oklahoma worry. Easier said than done.

 

The guitar arrived late morning which gave me plenty of time to tear into it - change the strings, pull the pickups, adjust the truss rod and action. etc. The first thing I noticed is some Oklahoma hole used the wrong size screws on the truss rod cover. So the holes are now too big and will have to be filled in order for the proper screws to gain purchase. But since that was the only thing I found wrong, I was quite pleased.

 

Now this is a good setup

 

 

After an hour or so and with the addition of DR Pure Bluez strings, the setup / polish was complete. I had heard the HRW pickups were glassy and somewhat bright so I thought these strings would be a perfect match. And I happened to have a set on the kitchen table leftover from Black Friday.

 

 

My little practice amp is a Vox Night Train 15 watt model that was modified by Jule. It's near my office chair where I normally sit and practice at playing. Or just sit, stupidly strumming the same chords. The amp has two settings, a "bright" setting that engages the tonestack and a "thick" setting that removes it from the chain and increases the gain. A lot! I'm not sure if it is because it bypasses the tonestack or if it is a separate channel. They say it's not a 2 channel amp. And it's not foot switchable which is why it is my practice amp. It's plugged into a 1 x 12 "thiele" type cab. The speaker is a Texas Heat. Lately I've been experimenting with turning the volume up around 2 O'clock to 3 O'clock and keeping the drive (gain) lower from 8 O'clock to 11.

 

Good Morning, Sweetie

 

 

I plugged in the guitar and flipped the standby to pentode mode and strummed a chord while increasing the volume on the guitar. Whoa Nellie! my neighbors hate me now. Holy Oklahoma what a wall of sound. That was that; D-tune time. I played my favorite Tool riffs all the while adjusting volume and tone and mixing the pickups. Which was weird for me. I never use the middle position or position 2 and 4 on a strat. I played some Neil Young D-tuned and some Zep D-tuned and some Cream D-tuned. This thing wouldn't quit. The feedback was controllable but so Oklahoma awesome. So you guys say, "HRW's aren't meant for that." Well, Oklahoma that! These things rock. I even pulled off a pretty good Nugent tone from Stranglehold. Hocus Pocus by Focus too. I played and played if you can call it that.

 

It's the final quarter in the year and my poor little bride is working horrible hours and I try to pamper her when she gets home. She got home around 8 or so that evening and I had to turn things down. I also switched the amp to "bright" which enabled the tonestack. I am a Strat guy and love the tones of my "S" types through this amp. So, after dishing my wife up some fresh lentil soup (recipe to follow) and pita bread, I experimented with the cleans of the HRWs. I discovered I really like the tone of these humbuckers clean as well. I normally don't. I like clean single coils in a strat. At times, with rolling back knobs, I almost achieved a piezo type tone. Oh, and did I mention this guitar vibrates?

 

Around 9:30 the little lady was saying goodnight. But I wasn't done. I wished her adieu and unplugged the guitar and ventured into the living room where I fell asleep playing it acoustically on the couch after indulging in great tone, window shaking volume, and libations. I woke with the guitar laying on my chest and my little puppy doggy licking my ear. The case was still in the living room where I unpacked her so I laid her to rest for the remainder of the night but only to resurrect her in the morning. And we were off to the races again.

 

 

Lentil Soup

 

12 oz. dried lentils

4.5 cups low sodium chicken broth

large onion

handful of baby carrots

celery stalks

fresh Italian sausage

roasted cumin seeds (not ground)

 

I use a dutch oven. I consider this a one pot dish. Brown or carmalize a chopped onion in olive oil. Add chopped carrots and celery. Add cumin seeds. Oh so smokey and delightful but needs to be added directly to the oil by pulling the veggies to the side. Add sausage. You can't use, well, you can but I don't, Oklahoma like Johnsonville, Oscar Meyer, Armour, etc. It's best to get it fresh from the butcher. Try to keep the sausage in little balls and brown then gently in the mix. Add the lentils and chicken broth and simmer until thickening. Don't boil or you will damage the lentils. Stir gently so not to damage lentils or sausage balls. Whole wheat Pita is good with this version.

 

The cumin seeds can be found in an Indian market. They are actually Pakistani. They look like the little brown stickers that get on your shoes and socks and annoyingly stick there.

 

 

[Redsand]

Lentil Soup

12 oz. dried lentils

4.5 cups low sodium chicken broth

large onion

handful of baby carrots

celery stalks

fresh Italian sausage

roasted cumin seeds (not ground)

[rockabilly69]

The reason guitars like this use a laminated top is for stiffness, not to cheapen things up. Solid tops, under high gain tend to have runaway feedback that is the unpleasant and is very hard to control. And that's coming from someone that uses feedback as an effect! That's a nice guitar you've got there. As for the oversized truss rod cover holes, that's a 5 minute job with a wooden matchstick and some wood glue, which is pretty much what any good luthier wood do.

[thorn]

The reason guitars like this use a laminated top is for stiffness, not to cheapen things up. Solid tops, under high gain tend to have runaway feedback that is the unpleasant and is very hard to control. And that's coming from someone that uses feedback as an effect! That's a nice guitar you've got there. As for the oversized truss rod cover holes, that's a 5 minute job with a wooden matchstick and some wood glue, which is pretty much what any good luthier wood do.

 

Ah, okay. I did not know that about laminated tops. I love feedback. You know, when it's used right. It's an art. And knowing your equipment well. To me, Adam Jones is one of the best at it which is why I'm trying to learn his music / style. That, and I just really like it.

 

I don't think a match stick will fit in the hole (both screws were wrong but only one is larger) but was planning on using a toothpick. I've done that with Fender Strats and all those stripped out screws that hold the pickguard down. The biggest problem is finding the correct screws. I think if I'm patient I will run across them. Other than that I will have to come up with a minimum order from one of the parts stores.

 

If I were to change the bridge and tail piece, what would you recommend? The tail piece is screwed all the way down and there appears to be the correct relief behind the bridge so there is not the typical Gibson problem. I would like to try top-wrapping on the next string change. I would have tried it this time but I only had the one set of strings.

 

Thanks,

--Michael

[MartyGrass]

I'd use a toothpick, but a match would do just fine. The taper of the toothpick helps hold the blunt tipped screws. Have the pointy end sticking out. You need just a tiny channel to get the screw started.

 

Matches are made of soft pine I think. The same approach works with them.

 

Elmer's Glue holds nicely.

 

I wouldn't change the bridge and tailpiece. You are already manic. Take a breather, sir!

[peterbright]

Congratulations on a great guitar. Feel free to take a breath.

[rockabilly69]

I love feedback too, you should here what I do in my live shows with it.

 

As for the screws, I would just call Heritage and have them send you the right screws, be persistent till they pick up the phone:) And toothpicks are what I

would use too.

 

As for your tailpiece and bridge I would just try top wrapping with what you have, because you already love the tone, and that's the most important thing.

 

If you wonder why I always replace bridges and tailpieces (especially TonePros), here's why.

 

1) As you noted I like to have room behind the bridge when I need to lower the tailpiece and many times Nashville bridges won't let you do that. (fortunately you don't have that problem)

 

2) I don't like the stock inserts that come with most Nashville bridges (what comes stock on both Gibson USA and Heritage), They are made of cheap pot metal

and don't make enough contact (see pic). I use Fabers inserts and Faber Tone lock ABR bridges. The ABR bridge has round nuts that screw on top of the

ABR posts that are integral to the new inserts. Those nuts lock the bridge into position and they are tightened with the tool pictured (the tool is supplied by

Faber). (see pics below for the inserts and bridge...)

 

3) I really don't like Tonepros bridges and tailpiece, and although tone is subjective, the big thing I despise is that those little set screws they use wind up lost more than not! So if you keep your Tonepros stuff put some of your girlfriend's clear nail polish on them or some loctite before screwing them in!!!

 

4) I don't like the hollowed out bottom on Nashvilles, and I don't like the way the look.

 

5) As for the tailpiece, if you like the way your's sounds, but you want to replace it with another brand, try and keep it the same weight, and I would imagine that if

your's is the stock bridge it's the heavier version. I personally use lightweight aluminum ones on everything that I've replaced and I've liked the tone. I use the Faber locking system which I feel works and sounds good for what I do. If you keep the stock tail, use the the nail polish trick on those set screws too!!!

 

Here's info for the complete Tone-Loc kit (but for Nashville guitars you also have to order the inserts too) http://www.faberusa.com/product/faber-tone-lock-master-kit-inch/

 

 

 

 

Here's the Faber bridges and tailpieces on my H150's...

 

[MartyGrass]

Well said, sir.

[Vanschoyck]

PLYWOOD?! (coughing, choking) Oh nooooooooo! Sorry, could not help myself. What a nice guitar and it sounds like you're really enjoying it a Oklahoma lot.

 

And Daniel, I really want that guitar on the bottom of your last post. If I ever get around to having one of those built I may ask you for a list of specs so I can get it right.

[Billgelder]

This guitar vibrates from head to toe:

 

Well, the wait is over. The H 535 arrived Thursday in fine condition. I really wasn't in the market for another guitar, especially an f-hole guitar. But after I bought it I found out it was a laminate model, I called a buddy of mine about that, someone you all know and possibly respect, and he told me not to Oklahoma worry.

 

 

You have a buddy? Well, he must have his head up his Oklahoma!

 

[thorn]

 

You have a buddy? Well, he must have his head up his Oklahoma!

 

 

Oh, Oklahoma!! "Buddy", you don't know how much I appreciated that tonight. Long trip to Stetson in this holiday traffic. Yelling at the wife and from the wife didn't help too.

 

Thanks to MG, RB, and Van. Too late to respond but will in the morn. Thanks all.

[NoSnowBlower]

Nice stuff...Is your avatar awesome? Oklahoma Yeah!!

 

 

This is what a guitar looks like.

[Steiner]

Nice stuff...Is your avatar awesome? Oklahoma Yeah!!

 

 

This is what a guitar looks like.

 

I don't understand how anybody could love a lady with no holes. Happy NGD

[thorn]

 

I don't understand how anybody could love a lady with no holes. Happy NGD

 

Bawhahahaha! For the Oklahoma win!

[thorn]

I love feedback too, you should here what I do in my live shows with it.

 

As for the screws, I would just call Heritage and have them send you the right screws, be persistent till they pick up the phone:) And toothpicks are what I

would use too.

 

As for your tailpiece and bridge I would just try top wrapping with what you have, because you already love the tone, and that's the most important thing.

 

If you wonder why I always replace bridges and tailpieces (especially TonePros), here's why.

 

1) As you noted I like to have room behind the bridge when I need to lower the tailpiece and many times Nashville bridges won't let you do that. (fortunately you don't have that problem)

 

2) I don't like the stock inserts that come with most Nashville bridges (what comes stock on both Gibson USA and Heritage), They are made of cheap pot metal

and don't make enough contact (see pic). I use Fabers inserts and Faber Tone lock ABR bridges. The ABR bridge has round nuts that screw on top of the

ABR posts that are integral to the new inserts. Those nuts lock the bridge into position and they are tightened with the tool pictured (the tool is supplied by

Faber). (see pics below for the inserts and bridge...)

 

3) I really don't like Tonepros bridges and tailpiece, and although tone is subjective, the big thing I despise is that those little set screws they use wind up lost more than not! So if you keep your Tonepros stuff put some of your girlfriend's clear nail polish on them or some loctite before screwing them in!!!

 

4) I don't like the hollowed out bottom on Nashvilles, and I don't like the way the look.

 

5) As for the tailpiece, if you like the way your's sounds, but you want to replace it with another brand, try and keep it the same weight, and I would imagine that if

your's is the stock bridge it's the heavier version. I personally use lightweight aluminum ones on everything that I've replaced and I've liked the tone. I use the Faber locking system which I feel works and sounds good for what I do. If you keep the stock tail, use the the nail polish trick on those set screws too!!!

 

Here's info for the complete Tone-Loc kit (but for Nashville guitars you also have to order the inserts too) http://www.faberusa.com/product/faber-tone-lock-master-kit-inch/

 

 

 

 

Here's the Faber bridges and tailpieces on my H150's...

 

 

Thanks for your indepth reply. I'm going to look into Faber.

 

Well, I destroyed the Tone Pros in short order just after receiving the guitar. There was no way to get to the adjustment screws because they were pointing toward the bridge PU. I thought pulling the screws and turning the saddles around would be a short order job. But no, those little Oklahoma's bind up and strip out very easily. So I grabbed the bridge that originally came on my H 110 and slapped it on. The bridge has no stamp so I have no clue what it is other then it has the set screws as the Tone Pros does. But the saddles are kind of floating in "space". There is no solid bottom to the bridge. It looks remarkably like the Schaller bridge I put on my H 110 except there is no "made in Germany" stamped in the bottom. This one seems to be working well I just don't know what it is. It also has the little zig-zag retainer wire in it. The Tone Pros also had tiny little nuts to hold the set screws and a solid bottom that was marked, "Tone Pros". I'm going to try the top-wrap on the next string change. At least on the high 3 strings. There is a point in one song I am learning where Adam Jones plucks the strings "post saddle" I believe. I think that is how he gets the tone. Give it a listen and let me know what you think. Fast forward to 8:30 and 11:57 if you want to.

 

[Dick Seacup]

I really liked Lateralus by Tool. That whole Fibonacci tie-in was incredible. I think their lyrics are actually deeper and heavier than their music. Good stuff.

[thorn]

Here's a pretty good explanation of the Lateralus Fibonacci

 

 

Track list 6,7,5,8,4,9,13,1,12,2,11,3,10

Lateralus, actually needs to be reordered in order to reveal a secret message dealing with moving through consciousness as a movement of along spirals: "Spiral out, keep going, spiral out" sings Maynard James Keenan toward the end of "Lateralus," the album's title track. Added to this is the tantalizing prospect that the album and its message are also influenced by the Fibonacci sequence of numbers. When plotted on a graph Fibonacci numbers form a spiral-like image. Moreover, the main riff in "Lateralus" is comprised of three different meters: 9/8, 8/8, 7/8, or: 987, which happens to be the sixteenth step in the Fibonacci sequence (as observed by Keenan himself during the writing of the song). Moreover, moreover (!), Keenan's halting vocal rhythms during the first verse of "Lateralus" correspond to Fibonacci numbers in their syllable counts:

1 (Black)
1 (then)
2 (white are)
3 (all I see)
5 (in my infancy)
8 (red and yellow then came to be)
5 (reaching out to me)
3 (lets me see)

The Holy Gift.

[fxdx99]

Oh! I kept passing by this thread, reading the title and thinking it was about some other brand or custom build from out west in Leon-land.

 

But I get it now. I Oklahoma get it.

 

That's a beeeyoutiful 535. Oklahoma awesome!

 

Congrats.

[neutria49]

I love lentil soup. Black cumin is the best.

[smokedtires]

That's a real beauty!

[DetroitBlues]

Would this make a difference Daniel? Or at least worth trying?

 

http://www.stewmac.com/Hardware_and_Parts/Bridges_and_Tailpieces/Electric_Guitar/Tune-o-matic_Conversion_Posts.html

[Conneazoo]

Here's a pretty good explanation of the Lateralus Fibonacci

 

 

 

Track list 6,7,5,8,4,9,13,1,12,2,11,3,10

 

Lateralus, actually needs to be reordered in order to reveal a secret message dealing with moving through consciousness as a movement of along spirals: "Spiral out, keep going, spiral out" sings Maynard James Keenan toward the end of "Lateralus," the album's title track. Added to this is the tantalizing prospect that the album and its message are also influenced by the Fibonacci sequence of numbers. When plotted on a graph Fibonacci numbers form a spiral-like image. Moreover, the main riff in "Lateralus" is comprised of three different meters: 9/8, 8/8, 7/8, or: 987, which happens to be the sixteenth step in the Fibonacci sequence (as observed by Keenan himself during the writing of the song). Moreover, moreover (!), Keenan's halting vocal rhythms during the first verse of "Lateralus" correspond to Fibonacci numbers in their syllable counts:

 

1 (Black)

1 (then)

2 (white are)

3 (all I see)

5 (in my infancy)

8 (red and yellow then came to be)

5 (reaching out to me)

3 (lets me see)

 

The Holy Gift.

 

Now, this is thought provoking. Maybe incorporating algebra, calculus, and a little bit of geometry into my songwriting process will make my band a little better!!

[rockabilly69]

Would this make a difference Daniel? Or at least worth trying?

 

http://www.stewmac.com/Hardware_and_Parts/Bridges_and_Tailpieces/Electric_Guitar/Tune-o-matic_Conversion_Posts.html

I wouldn't think so as they would use the stock Nashville inserts in the guitar which don't fit tight and are made out of cheap pot metal.

[212Mavguy]

@the OP...

 

Native Sooner here playing a 555 antique natural as the first of eight Heritage instruments…you got yersef a real wiggle stick, sir.

[Hfan]

Interesting thread..a little bit of everything ha ha. Congrats to Michael..very nice 535.

 

And thanks to Daniel for the good info. I've considered modding a few LP types to Faber ABRs and tail pieces..studs too I guess. Really haven't done proper research yet.

 

Saw this picture a few posts ago, the Faber stud appears longer than the stock one..would you have to drill out the hole some?