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  • Richard Dalgaard posted an update 6 months, 1 week ago

    guitar electric wiring , along with the current US-made reissues, possess an aluminum shield beneath the pickguard to help reduce hum. Our Squier Classic Modified ("VM" in current lingo) doesn’t. I could have bought a factory shield and wear it, however in the curiosity of economics, I figured I’d just opt for the homebrew method. I masked the pickguard edges from the top and sprayed the bottom of the pickguard with 3M (I think it’s 3M 44) adhesive. Observe I did this over the Crawfish Adhesive Spraying Recepticle. Then I sprayed a bit of lightweight aluminum foil and attached it to the pickguard. The foil is effective – maybe not quite along with copper, but it’s substantially cheaper. It’s ideal for flat areas like this. After that we just trim the edges when it’s dry and we’ve a shielded pickguard! I believe the shielding can count as Mod Three.
    Now I’m going to mount the original Squier wiring harness to the pickguard and test that it works. Mod Four that I’m doing as part of the set up, is switching out the initial rhythm circuit change for a new one. The new one is white. It is also a better high quality Switchcraft change. Keep in mind when I mentioned there were some little differences in mounting? Here’s one. The mounting holes on the new switch (best one in the picture) are usually spaced a tad wider. I just elongated the mounting holes in the pickguard a bit to adjust. I furthermore countersunk the screw holes – see the blue arrow. The mounting screws are usually oval head and have a good taper under the heads. They’ll sit properly in the countersunk holes. You can see I just achieved it manually with a countersink bit. I could control the cut better this way than with a drill.
    The green arrow points out an urgent issue. THEREFORE I just drilled brand-new holes for the bracket to match. Rather than keep the holes I’m not using, I filled them with Insta Morph moldable plastic material. Then I put a little bit of CA on the fill up. When it’s dry, I’ll degree it and touch it up with some color. Everything’s mounted now also it works as expected. Now I’m starting Mod Five: tidying up the old wiring. The crimson and grey cables in the image are shielded cables for the pickup wiring to the quantity and rhythm switch. I pulled them out in this photo to show how unnecessarily long they are. I cut them to a shorter size. I also ungrounded one end of the shields in the process – as I mentioned within the last posting, these were improperly grounded at both finishes(!). Here’s Mod Six, also one of the Main Adjustments: Curtis Novak pickups. These have a great reputation. I liked the audio clips on Curtis’ site so I decided to put some in this guitar. He recommended his regular Jazzmaster replacement for the neck and Jazzmaster Excess fat for the bridge. Notice how two various folks signed the pickups!
    The upward side will be that with a tube amp, you can get a little combo of around 40-50 watts that’s therefore loud that you can’t stay in the same area with it when it is cranked to 8, and can get you evicted at that volume level. In today’s world, there is absolutely no music location where you’ll need that much power. 5. YOUR Fingertips – A significant section of your audio actually comes from your method, and the way you contact the strings. This involves quite a bit of experimentation to obtain dialed in. 6. PEDALS & EFFECTS – guitar building website is so far down on the listing for a BIG reason. Pedals and results improve your tone. They don’t produce your tone. YOU CAN’T MASK TERRIBLE TONE WITH A PILE OF Results. I was at a concert about 2 months ago and a decent steel band was playing. The guitar gamer had among those $300 half stacks that you can pick up at the "huge box" music shops the whole day.