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Posted: Mon Aug 11, 2008 7:21 pm
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man they were unbelievable. pro quality necks fretted and finished for stupid money, as low as £40. At the time the berlin pro was well beyond my reach but i picked a new york up out of parts for about £200, assembled it myself and played the hell out of it. Mr eggle is a true artist, I always thought he lost out to prs, anderson, pensa and schecter due to location more than skill those first years of major production were easily on a par with any boutique maker. Ever want rid of the berlin ive got cash waiting for the right one.
I seem to remember charvel cx series strat trem blocks being angled reverse to fender, it could be worth looking to that also, no guarantees though.

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Posted: Tue Aug 12, 2008 3:33 pm
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Location: Peckham: where the snow leopards roam
paul10w wrote:
You might be a bit premature for that drink though Ceri, as there seems to be no evidence of one being installed, but you deserve one anyway for thinking of it.


No, no, I definitely don't win the drink, but thanks anyway!

Actually, I was thinking that way because the first time I ever did a six-screw to two-point trem conversion I measured repeatedly and still managed to get the posts about a millimeter or more too close to the neck. Plenty of adjustment available on the saddles to cope with it, but the error was just enough to get the block kicking against the wood on the upbend. So then I had to route out the cavity a bit more to make room. Luckily, it was my own guitar, and not valuable - I certainly learned my lesson on that one!

Ironically, I was fitting a Wilkinson VS100, so your (partial) solution was my problem.

In your later photos the paint is chipped away round one of the pivot post bushings in a surprising way, which makes you wonder if someone has tampered with them at some point. But that wouldn't explain the problem: they presumably haven't actually been moved, even if they have been replaced. Very curious.

In my humble opinion, your set up in the first picture looks just fine: nothing wrong there. The conclusion I'm trying to avoid is the idea that Fender just put the trem cavity in the wrong place. I've not come across that, but I guess it happens.

All the other solutions to your problem are strangely unsatisfactory, somehow, wouldn't you say? I feel in the end you just have to get to grips with the timber and remove two or three mil, with a router, or a dremel tool, or just some good old fashioned carpentry skills with the chisels. What to you think?

By the way, the water damage theory is interesting. Many people here would pay highly to achieve a finish like yours!

By the way (again), may I say what really excellent close up photos you are taking? We haven't had pics of this kind as good as yours on the Forum for a long while. Are you using a proper macro lens?

Cheers - C


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Posted: Tue Aug 12, 2008 4:11 pm
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CAFeathers wrote:
The bridge does not look like it is sitting in the body right to me. I recommend taking it to a Tech and have it sorted out.


It doesn't look right to me either. Those two bolts that the bridge rides against are way too high. Check out page 12 of
http://www.fender.com/support/manuals/pdfs/instr_owners/FenderGuitarsAndBasses2003.pdf
The front of the bridge should nearly be touching the wood. Note the angle.

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Posted: Tue Aug 12, 2008 4:52 pm
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orvilleowner wrote:
CAFeathers wrote:
The bridge does not look like it is sitting in the body right to me. I recommend taking it to a Tech and have it sorted out.


It doesn't look right to me either. Those two bolts that the bridge rides against are way too high. Check out page 12 of
http://www.fender.com/support/manuals/pdfs/instr_owners/FenderGuitarsAndBasses2003.pdf
The front of the bridge should nearly be touching the wood. Note the angle.


Yeah... fair enough. But my last MIA still has the bridge set just as it came from the factory (!!!) and it is about half way between the drawing in the manual and Mr Paul10w's in his photo. Doesn't matter how far I bend up, I can't get the block to touch the timber in the cavity, before the plate hits the deck.

Have you come across trem cavities in distinctly the wrong position, as his seems to be? (Other than Squiers and such, of course.)

- C


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Posted: Tue Aug 12, 2008 5:25 pm
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First of all I would like to appologise to a few of the posters here for not realising that the bridge should in fact be tilted towards the neck, therefore I wasn't grasping the point they were trying to make, (old age I'm afraid).

Thanks very much for that link orvilleowner, I have to say that the
diagram showing the bridge tilting towards the neck did surprise me. It's the first time that I've seen a two point floating bridge that doesn't show the base plate parallel to the body after being set up. Setting up the bridge as the Fender manual shows would definately go some way to solving the problem. However as ceri pointed out above, I will still be hitting the wood in the trem cavity before the base plate bottoms out against the body. This is exactly why I set my other guitars up with a high bridge and low saddles. It gives me the most movement bending the arm up before the base hits the body, I've never had a problem hitting wood with the block before. I'm very gratefull to you all that we're getting there.


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Posted: Tue Aug 12, 2008 6:41 pm
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By the way, the water damage theory is interesting. Many people here would pay highly to achieve a finish like yours!
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Yes I suppose so, if you haven't seen it already there are some pics of the neck and body at the following, see what you think. http://www.fender.com/community/forums/viewtopic.php?t=11206
I don't think I'll get the router out just yet, to be honest I don't use the Strat for wild up bends... in fact I don't think I do wild up bends at all come to think of it :oops:

By the way (again), may I say what really excellent close up photos you are taking? We haven't had pics of this kind as good as yours on the Forum for a long while. Are you using a proper macro lens?
Quote:


Thanks for the thumbs up on the pics, I'm not actually using a macro lens, I'm using a Fuji 9600 camera but sometimes in macro mode. Indoors I tend to use a flash bounced off the ceiling or walls so as to get an even exposure without (hopefully) too many reflections.


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