I love the channel!! Thank you for all the knowledge. You will definitely be my next pickup. Is there anyway you guys could get closed captions for the channel? It would help tremendously. My hearing isn’t what it use to be. Lol
Hi guys and thanks for airing my question regarding the impetus of the humbucker pup. I really enjoyed Jon's reply and discussion on that topic; very informative. I dig your show and with any luck you'll give Doug & Pat a run for their money. Doug & Pat / Jon & Matt. It's a good thing one of you isn't named Horatio. 😁
The potential problem with those posts is they will not directly fit an ABR-1 as the Nashville bridge pole spacing is wider. If you are using a ABR-1 you need offset conversion posts.
My 2017 Traditional had an abr on Nashville posts, I just plugged the holes with hard maple dowels and redrilled for nickel plated brass posts and used two vintage thin nickel plated brass thumbwheels on each post. Big improvement to the tone!
Deoxit 5 is an expensive contact cleaner, but it is the best I have found. I have always wondered if over spraying a pot can wash some of the shaft lubricant grease out and onto the pot track where it might cause problems. There is an abiding myth that the old Clarostat pots sound better than modern pots. While it is true that the Clarostat were very solidly built, I don't think modern pots sound worse. Most modern 'audio taper' pots have a mid rotation value of 10% or15% of the overall track value. Again there is a myth that the old pots used a different curve (or perhaps more accurately were actually ordered with a different curve) of 20%. A number of web sites have started to carry 'true vintage' pots with an advertised 30% at mid value curve. This is actually a mistake - all the so called 30% True Vintage pots I have seen are 20% at the mid point.
My ears perked up and my tongue lolled out like a dog listening to a fire engine when you mentioned making Telecaster pickup now imagine me in front of you jumping up and down whining when? when? when?
For me it came down to intonation. My Les Pauls with Nashville bridges didnt seem to hold intonation for very long. I noticed my Customshop Les Paul with ABR stays intonated. I took a screwdriver and pushed behind the saddle on a Nashville bridge and noticed it had alot of slop, I bought conversion posts and installed ABR bridge and have not had any issue with intonation drifting. I know Nashville bridge has more travel to intonate but I will only have an ABR from now on. One thing I wondered with the question the customer had about Installing ABR on Nashville equipped Les Paul was the posts. A true ABR has the post straight into the wood. No metal ferrule. The 2019's use ABR bridge but they have posts that thread into metal ferrules. The ferrules can be removed and plugged with maple and drilled and tapped for all thread but a good Luthier is in order to make it look decent. This is only my empirical knowledge your experience may be different.
@@mp-ov9dh That's a little weird and I would suggest that any play in the bridge saddle positions is more a function of the build quality of the particular bridge you are using rather than of whether the bridge is an ABR-1 or a Nashville TOM. Both types of TOM at various levels of quality, are after all available from a number of manufacturers. Changes in intonation because of bridge movement is not a problem I have ever had. However I do favour locking variations of the bridge and stop bar for that very reason. The thing I have against the TOM design is that it originated around 50 years ago, utilised the fairly recent introduction of die cast technology in order to make it cheap enough and would have been used with fairly heavy gauge strings (probably flatwound) and no string bending. I would suggest that Gibson got the design wrong from the start, because if you were going to design a bridge with moveable saddles, wouldn't you make sure that the saddles had enough range of movement to allow any intonation correction required? Although versions of the Nashville often do have a wider range of adjustment, the TOM bridge is traditionally installed at an angle to provide a base level of intonation adjustment because the range of saddle movement is not enough on its own. As a result the saddles do not travel back and forth along the length of the strings as they are adjusted, but actually travel at an angle. This means that as you adjust for intonation you are also changing string spacing and the strings position across the fretboard. Most TOM bridges today have cast zinc saddles which suffer from string slot wear and if you crank the stop bar down as low as it will go, the relatively soft and malleable zinc alloy bridge casting gradually starts to sag in the middle under string pressure. And so on .... Why anyone would think the TOM design is 'brilliant' (some have said this) is beyond me.
I respect the fact that you are using USA made magnets ! Thank you !
I love the channel!! Thank you for all the knowledge. You will definitely be my next pickup. Is there anyway you guys could get closed captions for the channel? It would help tremendously. My hearing isn’t what it use to be. Lol
Hi guys and thanks for airing my question regarding the impetus of the humbucker pup. I really enjoyed Jon's reply and discussion on that topic; very informative. I dig your show and with any luck you'll give Doug & Pat a run for their money. Doug & Pat / Jon & Matt. It's a good thing one of you isn't named Horatio. 😁
Callaham ABR-1 has bridges for different models and they are fabulous. I think your pickups are worth the price -- keep using the best components.
Your pickups are priced acurately! Never stop using American parts👍🏻
Hey guys, could you do a demo of the DS-55 Pickups? I'd love to hear them
You can buy conversion posts for converting Nashville bridge to an ABR-1 from Fabre and Cre@mtone.
The potential problem with those posts is they will not directly fit an ABR-1 as the Nashville bridge pole spacing is wider. If you are using a ABR-1 you need offset conversion posts.
My 2017 Traditional had an abr on Nashville posts, I just plugged the holes with hard maple dowels and redrilled for nickel plated brass posts and used two vintage thin nickel plated brass thumbwheels on each post. Big improvement to the tone!
Deoxit 5 is an expensive contact cleaner, but it is the best I have found. I have always wondered if over spraying a pot can wash some of the shaft lubricant grease out and onto the pot track where it might cause problems.
There is an abiding myth that the old Clarostat pots sound better than modern pots. While it is true that the Clarostat were very solidly built, I don't think modern pots sound worse.
Most modern 'audio taper' pots have a mid rotation value of 10% or15% of the overall track value. Again there is a myth that the old pots used a different curve (or perhaps more accurately were actually ordered with a different curve) of 20%. A number of web sites have started to carry 'true vintage' pots with an advertised 30% at mid value curve. This is actually a mistake - all the so called 30% True Vintage pots I have seen are 20% at the mid point.
My ears perked up and my tongue lolled out like a dog listening to a fire engine when you mentioned making Telecaster pickup now imagine me in front of you jumping up and down whining when? when? when?
Soon.
Now you sale you’re magnets separately will you be selling you’re vintage spec poll screws separately too in the future??
Sorry we are not selling the pole screws.
Swap a Nashville bridge for an ABR-1? Why? They are both flawed designs and they really don't sound any different.
A lot of people prefer the tone, look and feel of an ABR-1 over a Nashville bridge. I know I do.
For me it came down to intonation. My Les Pauls with Nashville bridges didnt seem to hold intonation for very long. I noticed my Customshop Les Paul with ABR stays intonated. I took a screwdriver and pushed behind the saddle on a Nashville bridge and noticed it had alot of slop, I bought conversion posts and installed ABR bridge and have not had any issue with intonation drifting. I know Nashville bridge has more travel to intonate but I will only have an ABR from now on. One thing I wondered with the question the customer had about Installing ABR on Nashville equipped Les Paul was the posts. A true ABR has the post straight into the wood. No metal ferrule. The 2019's use ABR bridge but they have posts that thread into metal ferrules. The ferrules can be removed and plugged with maple and drilled and tapped for all thread but a good Luthier is in order to make it look decent.
This is only my empirical knowledge your experience may be different.
@@mp-ov9dh That's a little weird and I would suggest that any play in the bridge saddle positions is more a function of the build quality of the particular bridge you are using rather than of whether the bridge is an ABR-1 or a Nashville TOM. Both types of TOM at various levels of quality, are after all available from a number of manufacturers. Changes in intonation because of bridge movement is not a problem I have ever had. However I do favour locking variations of the bridge and stop bar for that very reason.
The thing I have against the TOM design is that it originated around 50 years ago, utilised the fairly recent introduction of die cast technology in order to make it cheap enough and would have been used with fairly heavy gauge strings (probably flatwound) and no string bending. I would suggest that Gibson got the design wrong from the start, because if you were going to design a bridge with moveable saddles, wouldn't you make sure that the saddles had enough range of movement to allow any intonation correction required?
Although versions of the Nashville often do have a wider range of adjustment, the TOM bridge is traditionally installed at an angle to provide a base level of intonation adjustment because the range of saddle movement is not enough on its own. As a result the saddles do not travel back and forth along the length of the strings as they are adjusted, but actually travel at an angle. This means that as you adjust for intonation you are also changing string spacing and the strings position across the fretboard.
Most TOM bridges today have cast zinc saddles which suffer from string slot wear and if you crank the stop bar down as low as it will go, the relatively soft and malleable zinc alloy bridge casting gradually starts to sag in the middle under string pressure. And so on .... Why anyone would think the TOM design is 'brilliant' (some have said this) is beyond me.