Wednesday, 21 November 2018

Album reviews - Joe Bonamassa Redemption. Jeff Beck Live at the Hollywood Bowl

It's been an age since I've done an album review on here - largely as I've not been buying music much recently.  Anyway....

Joe Bonamassa Redemption

Now Joe Bonamassa with this album really nails it.  He has written 12 excellent songs.  His band has to be quiet simply one of the best on the planet too.  He is the king of blues rock currently.  From the start of Evil Mama with the hooky riff, stabby horn fills and great vocals you know this is going to be great.  I do simply believe it is his best yet.

The solos of course are his tour de force.   The headliner stand outs for me are Redemption (the title track) and The Ghost of Macon Jones.

If you like Bluesy Rock or Rocky Blues or just great rock music go listen.  It really is top album.

Jeff Back Live at the Hollywood Bowl

What more can you say about Jeff Beck?  One of the, if not the, most original and inventive rock guitarists of the moment.  Where many many others might still bang out album after album the passion with which he continues to be a student of the instrument and continue to push it's creative boundaries makes him stand alone.

This live take is a double CD release.  Covering much of his latest output from the Loud Hailer album with the band that put that release together but then also a complete trawl through his legendary back catalogue.  So you get from the Yardbirds Heart Full of Soul, For Your Love and Shape of Things, Beck's Bolero, 'Cause We've Ended as Lover and Big Block to cover the massive contribution he's made continually through his career.   At the end a bunch of collaborations lead through covers from ZZ Tops Rough Boy (with Billy Gibbons) through to a stunning tribute to Prince in his reworking of Purple Rain.

A must for anyone who loves Mr Beck's work across the decades.

Thursday, 18 October 2018

Some new kit

It was my birthday earlier in the month.  So with the various vouchers and cash I got I've acquired a couple of bits of new kit.

1. Harmoniser pedal.

I thought I'd try one out and didn't want to spend a lot on something that has limited use to be honest.  I watched some reviews of the cheaper mini pedals that have been coming on the market recently.  Influenced by Mooer who came up with the format.  The idea is just genius.  They figure most people who are serious have a pedal board already and that has a 9v power supply on it.  Therefore why to all pedals continue to have to have space for the 9v battery and that dictates a lot about how small a pedal can be - a format long championed by market leaders like Boss.

So take that out, minituraise as much as possible and suddenly pedals can be really small actually.  Small enough that you could have 3 or 4 easily on a little board with a power supply and be able to put it in the pocket of your gig bag.  Genius - Mooer actually do a miniaturised power amp and preamps.  Seriously you could arrive at a gig with everything in the pocket of the gig bag and a small 1x12 speaker in the other hand.  Clever.

So I bought this off Amazon.

You can see how little is is by the size of the jack plug into it.  This is a Tomsline model - if you can't read the logo.  What's it offer?   Well the large knob clicks between 1 (unison) 2 (a second), 3rd, 4th, 5th, (no sixth), 7th, 9th, 10th, 11th, 1 octave and 2 octave.  So a lot to use.  The other controls are as follows.  The two little black knobs control the level of the dry (unaltered sound) and the wet (the generated note) so you can for example turn the dry to zero set it to 1 octave down and have a bass simulator for recording - or you could even just have it set like that for building a loop with a bass.  Something I might well try out.  The switch allows three settings - up, detune and down.  Up and down are self explanatory - you can set the generated note to be above or below the fundamental on he dry signal.  The detune is fun!  The big knob then varies the amount  of cents (100/th of a tone) that is generated.  Now this is great for creating 12 string type emulation sounds.  That really works well with arpeggio sound.  Given this was about £38 there's a lot to like as you get a lot of flexibility and my initial playing with it shows it tracks single note runs well - chords more difficult and you have to really think about the chord voicing anyway or you get some discordant things going on.  I like the mini pedal idea too.  Shame I've a huge pedal board with a load of Boss effects already on it - and I don't see the justification to move wholesale over to mini pedals.

2. Power Attenuator

Second purchase is a Hartley Benton power attenuator.  I actually wanted the Bugerra product which is similar but looks less utilitarian but that seems to be out of stock everywhere so I went with this option instead ordering it from Thomann in Germany.  I was impressed with that having never used them before.  They get generally good reviews from people.  Sad we're about to leave the EU and that may well no longer be a viable option if tariffs and customs stuff gets in the way.
If you don't know a power attenuator allows you to run your stupidly large valve amp like my 60w 2x12 Hughes and Kettner Statesman at volume but it then lowers the power going to the speaker so it sounds much quieter.  That's my main reason for getting it - one to allow me to drive the H&K at levels I'd never consider at home without shaking the house to bits and getting a noise abatement injunction from the council.  There's different ways to do that - some sound amazing with different options etc. but they cost more than the bloody amp is worth and simply the answer would be to buy a modern amp with a built in attenuator but for under £100 this one does the job admirably well.  You can get it really low - which was the hope as my hearing suffers with my meniere's disease and it's been difficult to play sometimes at virtually any volume.  I'm hoping this allows me to reduce that to the bottom level and then it can just allow me to play at very low volume.

However there are other useful features in the box.  Two outputs on the back - one for line out (straight signal) and one with a speaker emulation built in.  The second smaller knob on the front controls that line level independently of the output setting.  So I can now plug that into a recording device and in theory record even with the volume set to zero and listening on monitors or headphones.  To be tried out - often I just plug in to my Boss and found a sound to just have ease because micing up the amp is a pain in the backside - this might give me a better option than that.  I hope so - I'll report back when I get a chance to play with it.

Monday, 15 October 2018

Gibson Les Paul Switchmaster Custom 1957

Many many years ago when I first started playing the guitar etc. John Miles was an artist I liked.  Remember him?  Most famous was his breakthrough hit of Music - which is a marvellous tune, with a bit of 7/4 timing thrown in with piano, orchestra and rock guitar solo.

Anyway John Miles had a black Les Paul Custom - hmmm.... another influence on my desire for one of these in later years maybe.  But his was special.  Many customs from the late 50s were built with three pickups - it was the default set up and continued into the SG custom that followed in the 60s - it is extremely rare to see a two pickup SG custom although two pick Les Paul Customs became the norm after the 1970 reintroduction.   John's had three pickups but rather than the usual three way switch and two vol and tones his had a four way slider switch and six controls.

Here is a video of him playing it in 1976 in one of his hits Slow Down.  Esp about 1:30 in you'll see the guitar during a Peter Frampton / Joe Walsh inspired voicebox solo.

In a standard three pickup les Paul the middle pickup is only live when the switch is in the middle position - where you'd normally have bridge and neck pickups both on - on a three pickup you get bridge and middle.  You can't individually alter the tone or vol of that pickup too - it's just governed by the bridge controls too. 

Frankly a bit of an odd set up - you think that Gibson just stuck the middle pickup on the custom in 1957 when humbuckers became the standard pickup to compete with the three pickup flagship Stratocaster that Fender had launched.  But they didn't think the switching through.  Now they did have a guitar in the range - the ES5 - big jazz thing!   That had been fitted with P90s and called the Switchmaster for a couple of years as they had this four way switch, each pickup separate and all together being the options and vol and tone control on each.   Here's a lovely 1956 version...

(PS that's available off Reverb for a very reasonable £10,000!)

Why all this interest... well... because.... I've just found one for sale!

How stunning is that boy!   Note it doesn't have the gold hat box knobs of John Miles' version but I actually like this look more.   The tuners have been changed to kidney bean Grovers

Here's the back view.

Now this is a 1957 model.  So two years before the legendary 59 Les Paul (standard).  But obviously a custom (which was considered the better version pricewise in the catalogues at least)  and something a bit unique.  Now up for sale in London at... £80,250.   Ok not cheap but a bargain compared to a burst from 58 through 60.

Given I'm about to retire should I get myself a present.... ;-)

Thursday, 11 October 2018

Gibson Les Paul Standard 2019 - what's the furore?

Here is a picture of the new Gibson Les Paul Standard 2019 model. In the snazzy looking Blueberry Burst.  Not possibly the colour I'd choose if I was buying this guitar but interesting and actually quiet innovative for a production guitar finish - you've got a standard burst idea - i.e. fade from light to dark from the centre out to the edges and a colour transition from the neck joint to the base of the instrument. 

Now - if you search on the Internet for Gibson Les Paul Standard 2019 - you'll find a whole host of articles and videos with people in melt down.  I've not seen this level of hate for Gibson Les Paul since the addition of robot tuners and the height adjustable brass nut.

I thought I write and give my take on this... firstly by talking history.

Exhibit one the original Les Paul model as introduced in 1952. (from

Let us roll on to 1957.
(This is actually Snowy White's guitar that he has used throughout his career with Pink Floyd, Roger Waters, Thin Lizzy etc.).

Note the changes - the original bridge was a disaster.  Les Paul wanted the trapeze model but the strings are under it not over making palm muting at the bridge a mighty bit tricky.  So firstly it was replaced with a simply stop bar and the neck angle in the body changed to go over the top.  Then another year or so later Gibson went with the familiar tunamatic and stop bar arrangement to allow better ease to intonation during set up.  The other big change is that by 57 the Humbucker pickups had been introduced replacing the original P90s.  Look at this guitar and the 2019 model.... there's the heritage.

But....  We've not yet hit the "golden" years - the burst years.  At the end of 57 Gibson dropped the "gold top" finish, which had been the only finish available since introduction (barring very rare custom orders from the factory) and introduced the cherry sunburst finish.

Here is a classic example from 1959 - in a book I actually own which is yes simply page after page of Les Paul bursts from the late 50s to early 60s.

Now... one thing I've heard a lot of moaning about on the forums and youtube is that this year's model isn't a "classic" standard.  Now... here's the thing.  The Les Paul Standard as a model actually never appeared until 1975.  This was when Gibson realised many people were routing out Deluxe model's to take standard format humbuckers.  The Deluxe was introduced in 1969 after the brief appearance of a P90 model that had looked very like a 1956 model.  The deluxe continued the "gold top" and a cherry sunburst theme.  In the mid 70s a few companies, notably Dimarzio, were offering replacement pickups and people were often putting these in routed out Deluxes to look like a late 50s model - which were by then the holy grail of guitars with Jimmy Page among many others using them.  (Btw Deluxes used a routing in the body similar to a P90 route but fitted into via a clever ring a small humbucker - essentially left over Epiphone pickups from the 60s.

So - if you want an original "Standard" replica you actually want a 1975 copy - with the 70s pickups - not PAFs, the volute on the back of the neck ... etc. all things many consider as backward steps in the Les Paul evolution.

The 2019 model - the complaints...

The complaints I hear most are...
  • Colours
  • Push Pull knobs
  • Dip switches
 Colours - well in 1959 you could only get one colour - at least this year you have a choice of two!

Push Pull knobs.  Yes traditional Les Paul models until only very recently only offered the one sound - the humbucking pickup.  Let's look at the competition... I'll pick PRS as they are the obvious one, USA based production of their core models (as they call them).  Since the initial intro of the PRS custom and single cut models (likely competitors to Les Paul models) they have had multi switching options - either via 5 position switches to give various humbucking and single coils in combination or via coil tap (or split) modes via a push pull on the tone control(s).   I'd also point to other near competitors - Gordon Smith in the UK.  I have their Graduate 60 model (a 2002 one) which has coil taps (and a no load control on the vol too) which offers the coil tap option.

Dip switches - to go along with the push pull knobs inside the guitar is a way to alter which coils are used on which setting etc.  clearly not something you can do on the fly when playing live but allows you to tailor the optional sounds to what you prefer.  Honestly I think that is brilliant - it makes the thing so much more versatile and if you are a recording guitarist doing sessions maybe a god send one day - if you remember to carry the screwdriver you need to get into the back.

BTW - you can just leave all the switches in the standard position and never use them... you know what it'll sound like... a Les Paul!

I really see the Standard as the guitar Gibson want to compete against PRS Customs and Singlecuts.  Now PRS continually update their models, different switches, pickup updates, tuners, colour options etc.  To me Gibson want the Standard to be a versatile sounding (hence the switches etc.) colourful (like PRS) high spec production guitar.   It is exactly that.  To me they are hamstrung by some limitations of the original design - for example the top fret access - although they could modify the heel to be like the Alex Lifeson Axcess model.... and why not?  Probably because they fear the backlash.  Gibson's only fault is not clearly saying - this is our modern PRS beater and pushing the heritage tag on the Traditional model.

So my take on this is this...

If you want a more traditional Les Paul that looks much more like the late 50s versions then buy the Les Paul Traditional.

Btw - that is $600 cheaper in Gibson's price list!

This is the bit I'm lost on - if Gibson didn't offer the Traditional then I could possibly see the argument from those complaining about this.  But it is like Fender - they offer the current Professional series, with a more modern two post vibrato system, modern pickups etc. but they also offer the American Original series where you can buy something built to modern standards but with the old world look etc.  If you like an old style trem (like me) then look at that as an option.

Alternatively Gibson (like Fender) also have incredible custom shop offerings of painstaking recreations of the holy grail guitars we conservative bunch of guitars all want.  Like this one example.

Actually Gibson call this one The Holy Grail.  Now the only issue you have here is the prices.

Les Paul Standard - $3,399
Les Paul Traditional - $2,799
The Holy Grail - $6,499

So yes the custom shop one is  over twice the price of the Traditional.   You pays your money and all that.... btw the custom shop offer many other limit options where the sky is the limit pricewise.   Oh you could save up about $250,000 and just buy an original I suppose.

Although there is a Custom Shop 58 model at a reasonable (ahem!) $4,999.

My Opinion...

To me the Standard, even when it was the Les Paul Model in the 50s, has been the evolving modern model.  If you don't want that then buy the option Gibson have created for you - the traditional.

Would I buy a 2019 Les Paul Standard?   No.
Why?  Well to start I have a 2007 Gibson Les Paul Custom
Which I'm very happy with.  It has no coil taps it is in boring standard black etc but I always actually preferred the black custom vibe - blame live albums like Frampton Comes Alive and Live and Dangerous where Frampton and Robbo both sported black customs.  Then if you could find one in the UK it would have cost you about £650 which was a fortune to me.  A gold top deluxe was more often seen in the shops near me at about £500 - still too much for a penniless teenager!   But in my mind it was black custom or gold top deluxes that I always craved as a youngster.
Also I have a Gordon Smith Graduate 60 - slightly rawer sound and coil taps for versatility (oh and a brass adjustable nut too... decades before Gibson declared it a new innovation). Also way way lighter than the Gibson.

Also I bought a PRS CE 22 some years back.  Now it is lighter than the custom by a mile, better high fret access, lovely colour, has a five way switch giving versatile sounds and has a really reliable functioning trem.   To be honest if I can only take one guitar to a session/gig it would be this one every time as it'll tick every box I'm likely to be presented with. Now the new standard might get close with those extra sound options but... no trem ... and a trem on a Les Paul that would be sacrilege ... ;-)

Sunday, 10 June 2018

Space saving workbench

I got this idea from Chris at Highline guitars from a video he put up recently on his YouTube channel.

If you haven't much space available and certainly not enough for a permanent workbench here's a way to get one you can store away.

Underneath is a Black & Decker Workmate that I've had for years and which already folds away.  The top is a large offcut sheet of chipboard that was in my garage - a left over for a kitchen installation years ago.

Underneath you see again a chunk of chipboard that was in my pile of "it may come in handy one day" offcuts.   You'll see I notched it at the ends so sit snugly on the workmate.  Once this clamped in the top is held really tight and it gives you a much bigger smooth flat surface to work on.  I heavily countersunk the 2.5" chipboard screws so that they won't scratch anything I put on there.

The final little touch again from Chris at Highline was the portable carpenter's vice.  I honestly had never seen one before until I watched his video.  The unique feature being the clamp underneath allowing you to clamp it to a suitable work surface.  I thought that would be really useful so looked around for one to find they aren't that common at all.  This is a Record Model 51.  I had been looking on eBay for one at first thinking about £10 - £15 would be reasonable.  But no nearer £20 - £25 was what most were asking.  I tried to make offers when a couple didn't sell on the first listing to no avail.  Then this one came up as a proper auction and was supporting a hospice.  So I stuffed in my top bid - essentially around the others that I'd seen.  I actually got it for a few quid less.  I've fitted it with new jaw guides made from some Sundela pin board which is nice and soft.

So there you have it a good size smooth workbench with a handy vice and cost me less than £25 and can be stored away in the shed/garage when not needed.

Wednesday, 25 April 2018

HSS strat set up and review

Finally I had the guitar finished but not set up.

I had a quick playing test and most of the fret issues had gone - my initial test had shown that on the E and B above fret 14 it was hit and miss whether you got the right note and that was all gone.  There was some buzzing but all notes sounded.  However bending the top E choked out - a common Strat complaint but one I wasn't expecting.  When I bought the neck off eBay it was specified as having a 9.5" radius.  I thought I maybe needed another go at levelling the frets.

Anyway I put it aside for 24 hours to let it all settle at tension anyway.

Next day I checked the relief which without any adjustment had gone from being dead flat without tension to being a little over Fender factory spec for a 9.5 and closer to a 7.25.  I decided to leave that as that was close enough for now - I was expecting to return to that but read on for the mystery surprise.

The nut slots were all high - not uniformly some much higher than others.  I had thought about putting a Tusq replacement nut in and I might still do that in future but actually this did seem to be a bone nut not just cheap plastic which was a result.  Having got that sorted I turned attention to the action.  The top E was a little low so I raised it a bit which helped massively with the choking I'd found frustrating on the first play.  Not perfect but better.  The bottom E was about right so I dug out my 9.5" radius gauge and adjusted the other strings.  Felt odd - the middle strings were really buzzy and the B now chocked out more.   Head scratch.  I could just raise it all but that seemed wrong and as things were moving about I wasn't convinced my fret levelling was necessarily at fault.  After a few frustrating minutes I had a brainwave.  "Check the radius of the board dummy!".

It is a 7.25" not a 9.5" as advertised.  DOH!  I'm not bothered - I know some hate the vintage feel but frankly I flip from a 7.25" Strat to a 12" Gibson to a 10" PRS with little bother - my playing clearly isn't that nuanced!  Once I set an action more akin to a 7.25" (you have to have it slightly on the high side to stop the choking I've always found) then set the strings to 7.25" radius it came alive in my hands.  No choking bends and every string ringing clear and true.

Intonation.  I didn't have to set it.  Sorry?!  What?!  Yes I know I was completely blown away by this too.  Back on day one my first thing had been to line up the bridge and set it's position.  If you remember the neck was floppy in the pocket so I inserted a shim on the treble side.  That meant I ended up creating my own "centre line" slightly toward the bass side of the body.  But I'd then carefully measured the position of the bridge to be 324mm from the 12th fret.  That was my notional intonation point.  I used a Wilkinson vintage strat type bridge but with their clever staggered trem block.  Now the saddles came factory installed with a stagger.  Honest once I got to intonation I was stunned to find that I only had to move the low E and the D a fraction forward and I mean not even a full turn on the D.  The other four were perfectly bang on.  I was most impressed with that!  Seriously I could have left it as was and it'd be better than any guitar I've got home after purchasing from a shop.

I set the pickup heights which sorted out an initial inbalance I'd felt between the single coils and the humbucker - I will say the last bit of that showed to me that this set is much more sensitive to position relative to the string than I've ever before experienced.  A small adjustment makes a seemingly large difference in perceived output.

By the way - it's set up with Ernie Ball Regular Slinkys .10 - .46 my regular string of choice.

So final impressions.  I love it!  No... I LOVE it!  The neck is comfortable, maybe a shade chunkier in the very bottom open position by the nut than I'd prefer.  Comparing it to my gorgeous Squier JV '62 strat that has the best neck shape ever... I think there is about 1.4mm extra chunk in that area but it is fine and as you progress up the neck any additional bulk is not noticeable at all.  Hey I've got a Les Paul Custom with a truly baseball bat neck on that so this is no bother at all.

As I say now set up as a 7.25" it plays really good.  Many would baulk at the slightly higher action - I head towards 1.5mm on the top E on a 7.25" rather than normally I go for about 1.2mm on a 10" or above.  But I really don't mind and I'm no shredder so it's ok for me.

The Bridge is excellent and will again consider Wilkinson for any other builds/upgrades.  I went with a more vintage one after considering the modern looking one which more resembles say a PRS like bridge.  However I remember swapping large bulky saddles on the red Squier I updated some years back putting in Fender bent steel and thinking that was the single best upgrade on the guitar as even unplugged it changed how it rang. The really really best bit about this bridge is that it looks all vintage and has that ring but the arm is a push fit - it just stays in place!  No mucking about with those little springs underneath that you eventually lose in the case or PTFE tape that then eventually gums everything up.  Genius!

Sounds.  Well now - the Texas Locos are a revelation.  Instant great strat tone - Mayer, Trower, Hendrix, Gilmour etc. etc. all there.  I'm so impressed I am seriously wondering about fitting a complete set of these into my beloved Squier '62.   The Humbucker I initially wasn't as impressed by but after fiddling with the pickup height it is much better and I'm happy now.  I went with this as a set as it was only £75 for the set - incredible value.  But I wish they perhaps offered a set with a more PAF like humbucker but it isn't a bad sound just that the Texas Locos are so good it seems just not as great.  Also the single coil tone is a bit shrill on it - probably as it is voicing the coil closest to the bridge which is closer than a most of a normal strat single coil would be.  But then I have a three single coil strat so it's a nice to have option but not a deal breaker.  This is much more likely to be used as a HSS pretty much permanently anyway.  The 7 sound?  Second guitar I've fitted it to and I honestly don't think I'll bother again - yes they are subtly different but they don't immediately inspire me anyway.  Funny enough I don't regularly use the combined sounds on a Strat anyway I use the three pickups in isolation much more.

However my dodgy wiring still strikes.  Only in my second playing test did I realise that the tones are wired up wrong!  I fixed the pickup issue but not that because fixing the pickup issue now means that we have master vol, tone on bridge and middle and neck tone.  To be honest I'm not a tone pot fiddler I normally leave them set where I'm happy and tone shape via other means so it's not a big deal but at some point when I have time I will have to pop the electrics out again and sort that out.

I made this quick video to send to my son.  This is the first play through - before the set up work.

Finally full specs for any geeks...

  • Mahogany Body
  • Maple neck and fingerboard - block inlays, 22 fret, fretboard bound (more like Jazzmaster / Jaguar than a Strat).  Adverstised as 9.5" radius actually 7.25"
  • Vanson locking tuners
  • Generic roller string trees 
  • Schaller like (i.e. copy) strap locks
  • Wilkinson "vintage" bridge WV6 CR SB
  • Black perloid scratchplate - handmade from Vanson guitars blank - back plate from Vanson to match
  • Copper sheet shielding 
  • Telecaster type knobs
  • Irongear pickups Steamhammer humbucker in bridge, Texax Locos in neck and middle
  • 250K pots
  • 0.47uf "orange drop" capacitor
  •  "Oak" switch
  • Master Vol
  • Tone on neck
  • Tone on Bridge and Middle
  • Coil tap on humbucker
  • 7 sound switch placing Bridge active in all switch positions
  • Strung with Ernie Ball Regular Slinky strings
  • Leather strap by Spartan Music

Tuesday, 24 April 2018

HSS Strat Completed

The build is completed.

When I last updated you on here the scratchplate was cut out in terms of the shape.  So the next job was to cut out the pickup holes, control mounting holes and the screw holes.

So... I drilled into the corner of the pickup holes and then with a coping saw cut those out.  Found various sized appropriate drills for the holes.  Cutting out the pickup holes was a bit tricky but ok in the end with a bit of judicious help from appropriate files.  One of the trickiest bits was to get the switch hole.  For a typical Strat 5 way switch it is a long thin line.  Digging in my tool chest which I so luckily inherited from my Dad in 1984.  It has tools that date back to when he started as an apprentice shipwright in the dockyard in 1942.  I always wonder what Dad is thinking looking down on my hamfisted efforts (ab)using his tools in the process.  Anyway buried in there were some round file blades to be fitted into a saw. They looked about the right width.  I found a fret saw I remember buying years ago for some job which has clamps to hold blades in place and was able to get one of these files to fit into it after a fashion.  I drilled a slightly oversized hole at one end to get the blade through - they have little knob things at the end which are bigger than the rest of the file and then fitted it into the fretsaw.  Bit Heath Robinson but it cut the slot surprisingly easily and well in the end.  After a little manual adjustment after checking the switches actual travel - it needed slightly elongating I then marked the screw holes and drilled them.  It all fitted!

So finished another afternoon.   In all the scratchplate creation by hand took me a good 3 half days!  I know I took my time but I could never make a living out of this!

I had bought some copper shielding so I fitted that to be back of the scratchplate then fitted the controls and tested that again on the body.   I found that the bottom tone control and the vol control just fouled the sides.  A bit of chieselling later and it was all good.  I then screened the cavity with the copper foil - sorry I didn't get a photo of that but it's not that interesting anyway!

So we had the controls and pickups mounted but next to... the wiring up!

Well actually before that I decided to sort the frets out.  I had been trying to keep the strings on it to test out but in all the fitting of the scratchplate on one retune the B snapped and I gave up.  But I knew they needed levelling.  Sorry folks again I forgot any pictures on this step mostly as I was concentrating so much.  Process was for the record.   Removed the neck from the body.  Using the trussrod got it as level as I could using a notched straight edge. Covered the fretboard in masking tape.  I then used a fret rocker to find any high frets.  As my playing test had revealed the issues were mostly north of fret 14 with a couple of really high frets.  I don't have a fretting hammer - if I had I may have gone for trying to bang these in again but they didn't look to be high seated.  Anyway  I marked the top of each fret with permanent marker.  I then took the first cuts using a Crimson Guitars fret levelling file. I then swapped over to a fret levelling beam with 400 grit and finally on the other side of the 800 grit.  I did try the above 12 fret fall away technique as well - two bits of masking tape to raise the end of the levelling beam.  I remarked the top of the frets and ran over it all again with 800 grit in the beam.   Then I crowned them with a traditional three sided crowning file, dressed the ends with a fret end dressing file and finally worked through several grits of fret rubbers to polish them up.  Not the best fret job in the world but probably the best I've ever done! 

So back to the next opportunity to work on it and back to wiring up.  Now this has to be the bit that I find the most frustrating and completely under estimate!  This again was two half days with a soldering iron and the fumes associated.  It is just no doubt practice but I'm slow on this stuff it takes me ages to get wires sorted and then satisfactorily soldered.  I carefully before started sorted out the connections on the switch - I'm using an old style one which are supposedly more reliable.  Having done that and drawn a diagram for myself... I completely ignored that and wired it up wrong!  Fool!   Also adding in the coil tap and 7 sound switch added complication frankly as I was doing this I then regretted.

I'll digress to explain the set up I've gone for.  The pickups are a set from Irongear - more on these in a separate review I'll post.  It consists of a Steamhammer humbucker and two Texas Locos in the middle and neck.  Plan was ( note that more on that later ) was for bridge tone, middle and neck tone and master volume.  Coil tap on the humbucker is the first switch as you go down and the second is a 7 sound switch.  I've fitted one of these before it gives you neck and bridge and all three on together sounds not normally available in a standard 5 way switch.  Most people seem to wire this using the neck pickup.  The switch effectively bypasses the switch and places whichever pickup you've put through it always on.  Made famous by Dave Gilmour on his black strat that is how he has it installed.  To me though then if I get to a solo I wack the switch to the bridge pickup and... I've still got the neck on so I' have to switch that off.  Annoying - to me.  So I do it with the bridge pickup.  So when I flick to the bridge setting on the main switch that's all I get irrespective of the position of the 7 sound switch.  Probably different folks playing styles - if you solo more on the neck pickup Gilmour/Trower like then the neck being always on would make more sense.  I normally solo on the bridge - hence wanting an HSS in the first place.

So all wired up.  Tap test.  Totally confusion for yours truly.  I was bamboozled for a while as I thought the neck pickup totally dead.  Then I realised.  I'd wired the switch up totally wrong ignoring my diagram!  DOH!  Plus the 7 sound switch then added to the confusion in trying to diagnose the fault.

I'll not show you a picture of the rats nest of wiring I end up with.  But anyway.  Screw it all down and - viola!  Fini!

I'll do a "review" separately and talk about the set up in that.