Here’s the headstock. If you look carefully, you can see that the strings aren’t routed underneath the tree. But, you have to look carefully to tell.
Like I said, the strings clear it by a solid millimeter, so there is no contact, at all.
The Spray Can Yellow Fender 1982 Standard Stratocaster
- Thread starter Inspector #20
- Start date
Here’s the headstock. If you look carefully, you can see that the strings aren’t routed underneath the tree. But, you have to look carefully to tell.
Like I said, the strings clear it by a solid millimeter, so there is no contact, at all.
OP
Late 1956 is when the headstock’s round string retainer was switched to the “butterfly” string tree with a “half-tunnel” guide for the B and high E strings. Fender historians claim the second string tree was added in 1971.
What's interesting to me is the trees are totally unnecessary on the early headstock with vintage, short post tuners...
What's interesting to me is the trees are totally unnecessary on the early headstock with vintage, short post tuners...
OP
I tend to cut my nut slots quite deep - something most luthiers will tell you to avoid.
I often back pick my open 'E' and 'G' chords quite violently when playing live. The deeper grooves (on both my Stratocaster and my Les Pauls) keep the strings in the grooves.
I tend to have a fairly light attack. So, I can get away with shallower nut slots.
But, I get your point.
OP
I just ordered the Grover 136G6 to replace the odd low 'E' tuner...
OP
Now the Les paul - with the Planet Tone Pickups - has a much rounder, less edgy tone thank the YelloStrat. Of course, when you consider the Dimarzio Neanderthal is 16.5k, 44awg/AlNico 9 and the Planet Tone Afterburner is 13k, 43awg/Alnico V, it's not hard to understand why!!!!
OP
dmatthews
Ambassador of Birds
OP
Grover is a goof, but his tuners are awesome!!!!
dmatthews
Ambassador of Birds
I'm sure Grover (both of them) would accept this observation.
OP
Gonna look better for sure, but the oddball Gibson tuner worked perfectly and the more shallow angle on the low 'E' was just what the Tone Doctor ordered for keeping the guitar in tune during 11 semitone divebombing.
gball
Ambassador of Boogie
Meh. I don't think many (meaning any) luthiers have built as many excellent and highly praised instruments as Paul Reed Smith, and his nut slots are like canyons. It's all about what works, not what "conventional wisdom" says works.
dmatthews
Ambassador of Birds
I have 8 examples of this, and couldn't agree more.
OP
That's really it in a nutshell, IMHO...setup is a reflection of the tech's skills.
Last edited:
OP
Now, having said that, I'm seeing a lot of tuning problems (related to the nut) on PRS guitars, but Paul is no longer involved in the building process, so that could be a factor.
In general, we see really good setup on the Artist Series, but one would expect that in a $3,000 to $5,000+ guitar.
However, there's always exceptions. My colleague has a brand new PRS DGT with open (McCarty) tremolo ($3,800 retail) and it won't stay in tune. He is planning on returning it, so accurate setup is not guaranteed, even in the more expensive instruments.
We could easily correct the setup anomaly, but he is disappointed in the sheer principle that you cannot play a $4,000 guitar without a trip to the Luthier.
The guitar pitches sharp when the tremolo is used or when the strings are bent, so it's clearly binding in the nut.
When he contacted the PRS Tech Center (PTC) they told him (paraphrased) that an open tremolo is a "novelty" and if he wants a guitarvthat will stay in tune they recommended a CE 24 Blacktop Fkoyd Rose.
But, TBTH, I'm seeing a lot of tremolo equipped Fenders that won't stay in tune. Our local Fender warranty guy is busy with a 3 week backlog.
Last edited:
gball
Ambassador of Boogie
I've heard plenty of things said about PRS' but tuning instability has never been one of them. The ones I have owned were all insanely stable, and anecdotally everyone I know that has had a PRS has always said the same.
Not sure what you mean by the holding process, but from what I have seen, both from the factory tour and from what I have picked up over the years online, PRS (the man) seems to spend a lot of time walking the floor at PRS (the factory) keeping tabs on PRS (the guitars).
Having owned a few I can say they are just not for me, but I have zero negative things to say about the company or the guitars.
OP
Note: I wrote this in chunks and had to go back and fix errors, etc. Busy day here today and I'm killing time between appointments)
"Holding" was later corrected to "Building."
Honestly, I think it's like anything else. The brand name alone doesn't guarantee a good experience.
Keep in mind that as a guitar tech, nobody brings me guitars without a problem, so I see the worst of the worst.
Last edited:
OP
I've played a few owned my session colleagues. The ones I have played have all been the insanely expensive artist series and most of them were stoptail.
I thought they were well made overall.
OP
@gball Let me throw this out there and I'd like your opinion...
I know a guitar tech that is traveling professionally and is currently working for some huge names.
I've seen his work firsthand and it's impressive.
I paid him to do some work on one of my guitars - top dollar - over 3 times the going rate in this area. I considered the amount a "tuituon" from which I could learn more.
The work performed on my guitar was on par with what I've seen come from our local Guitar Sinner.
Even guys with phenomenal skills won't always give the "little guy" the same service a performing artist attached to a label will receive.
My background working with Dad in aviation taught me that we performed all work to a very high standard, even on the neighbor's farm truck.
FWIW...
I know a guitar tech that is traveling professionally and is currently working for some huge names.
I've seen his work firsthand and it's impressive.
I paid him to do some work on one of my guitars - top dollar - over 3 times the going rate in this area. I considered the amount a "tuituon" from which I could learn more.
The work performed on my guitar was on par with what I've seen come from our local Guitar Sinner.
Even guys with phenomenal skills won't always give the "little guy" the same service a performing artist attached to a label will receive.
My background working with Dad in aviation taught me that we performed all work to a very high standard, even on the neighbor's farm truck.
FWIW...
OP
Imagine having a new DGT and then someone hands you a spray can yellow Stratocaster and you wail on it for 30 minutes and it's still in tune, but your new DGT goes sharp everytime you push on the tremolo.
I think the principle (and the response from PTC) was just really frustrating.
I don't think PRS makes a bad product. And, in all honesty, the most consistent QC seems to be on their Indonesian built SE's.
I would venture to say that more CNC equals less chance of human error and more hands on equals a greater chance for human variables.
I think the principle (and the response from PTC) was just really frustrating.
I don't think PRS makes a bad product. And, in all honesty, the most consistent QC seems to be on their Indonesian built SE's.
I would venture to say that more CNC equals less chance of human error and more hands on equals a greater chance for human variables.