My First Build: Which Red Is The Best Red?

Looks great. My first one came out a little assymetric as well.

You'd never know these days, you're not allowed to get that close!

I like it :)

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i'm trying to sand it back to shape as much as possible and it's working out quite well! :D

Right guys,

So I understand the principal of scale length and bridge placement but can somoene please explain how far back from the bridge to be installing the bigsby tremolo? I've watched a bunch of videos on bigsby installation and scale length but haven't come across anything that can answer my question unfortunately. :(

Please help!

I've never used a Bigsby but I'd simply look at a few photos of Bigsby equipped SGs to get an idea. Looks to be about 2"/50mm back from the bridge. I can see some variations in the positions, so it's not critical. What you need to think about is the string break angle. You don't want the Bigsby so close that the strings are pulled onto the rear of the bridge. Or so far away that the break angle is too shallow so there's not much downforce holding the strings in the saddle slots.

I'd set your bridge up to the height you'd expect it to be once the guitar is set up (run a straight edge along the neck and have the saddles about 3mm higher than the spot where the edge meets the bridge). Then set the Bigsby about 50mm behind the bridge and look at the angle the strings will take from underneath the roller bar to the saddles. If there's any risk of the strings touching the rear of the bridge, then move the Bigsby back a bit until you know you won't have issues.

Quote:

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Originally Posted by Simon Barden

I've never used a Bigsby but I'd simply look at a few photos of Bigsby equipped SGs to get an idea. Looks to be about 2"/50mm back from the bridge. I can see some variations in the positions, so it's not critical. What you need to think about is the string break angle. You don't want the Bigsby so close that the strings are pulled onto the rear of the bridge. Or so far away that the break angle is too shallow so there's not much downforce holding the strings in the saddle slots.

I'd set your bridge up to the height you'd expect it to be once the guitar is set up (run a straight edge along the neck and have the saddles about 3mm higher than the spot where the edge meets the bridge). Then set the Bigsby about 50mm behind the bridge and look at the angle the strings will take from underneath the roller bar to the saddles. If there's any risk of the strings touching the rear of the bridge, then move the Bigsby back a bit until you know you won't have issues.

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Cheers mate. That actually makes a lot of sense. With my setup, unfortunately, it looks like I won't have much of an option! Any further back than where it sits in the picture and I'll be hitting the knobs. In any case, I think I've cleared it enough so that it doesn't hit the back of the bridge. I guess I just wanted assurance that there's not some magic distance away from the bridge that I need to follow to the T.

Side note, I've seen some configurations where the screws of the bridge face the back and others where the screws face the neck... which way is it supposed to go?

Edit: It looks like if i point the screws towards the neck and adjust the saddles correctly, I can get enough clearance from the back of the bridge. Am I doing this right??

Attachment 34828

Here goes nothing!

Hi JL
I have only just caught up with your build diary so I may a bit late to talk "red".
My signature at the bottom shows my two builds that are different reds. My minds eye does not see guitars in any other colour than red so the next on will be too.

I have used real colortone imported from the USA. Put it on at 15 to 1. I think the stuff in Aus has been diluted to at least 30 to one. Although that is also a recommendation from StewMac.

My LP is Red with a touch of Red Mahogany to take out a bit of Cherry. I wiped on and off two coats to give the grain a bit of a head start. I thought Black would be too dark for what I wanted for the LP. All mixed with metho.

The ST I wanted really dark so used red mahogany on black timbermate grain fill. Really happy with the result.

The guitars were finished with Tru-Oil. A long but productive process. The tru-oil is very forgiving.

All the gory details are described in the build diaries.

Good Luck. It will be worth the effort.

It really doesn't matter which way round the intonation screws go. The original Gibson ABR-1 T-O-M bridge ones were normally set facing forwards as they sat near the top of the bridge and could get in the way of the string running unobstructed down to the stop tailpiece. Being near the top of the bridge, they were fairly easy to access over the top of the bridge pickup.

When the deeper Nashville style T-O-M bridge was introduces, the (now captive) intonation screws sat further down the bridge body so were harder to adjust if facing forwards, and being lower meant they didn't foul the strings if facing the rear, So they are normally set up with the screw facing the rear. But it's really all about ease of access to the screw.

Looking at your picture, you look like you'll be better off with the screws facing forwards as the stings pull down quite severely. I'd really think about fitting a bridge with roller saddles. I've got one on a Flying V with a Maestro-style trem, and as long as the rollers are oiled occasionally, that stays in tune very well.

It does rather look like the kit controls are higher up on the body than on a real SG, limiting the Bigsby location. Unless you abandoned the flame top and went for a solid paint colour, then there isn't a viable option for filling the existing control holes and redrilling them further down.

Quote:

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Originally Posted by GregLane

Hi JL
I have only just caught up with your build diary so I may a bit late to talk "red".
My signature at the bottom shows my two builds that are different reds. My minds eye does not see guitars in any other colour than red so the next on will be too.

I have used real colortone imported from the USA. Put it on at 15 to 1. I think the stuff in Aus has been diluted to at least 30 to one. Although that is also a recommendation from StewMac.

My LP is Red with a touch of Red Mahogany to take out a bit of Cherry. I wiped on and off two coats to give the grain a bit of a head start. I thought Black would be too dark for what I wanted for the LP. All mixed with metho.

The ST I wanted really dark so used red mahogany on black timbermate grain fill. Really happy with the result.

The guitars were finished with Tru-Oil. A long but productive process. The tru-oil is very forgiving.

All the gory details are described in the build diaries.

Good Luck. It will be worth the effort.

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Hey mate, thank you so much for the input! I've literally just finished with the angelus leather dye and I must say I'm quite impressed by it. I used the applicator but that was way too botchy so I ended up using a rag to blend. I'll probably be sanding back a little int he dark spots tomorrow and hit it again with the cloth. Much better blend.

I will however, be using truoil for the finish. any hot tips on those?

Quote:

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Originally Posted by Simon Barden

It really doesn't matter which way round the intonation screws go. The original Gibson ABR-1 T-O-M bridge ones were normally set facing forwards as they sat near the top of the bridge and could get in the way of the string running unobstructed down to the stop tailpiece. Being near the top of the bridge, they were fairly easy to access over the top of the bridge pickup.

When the deeper Nashville style T-O-M bridge was introduces, the (now captive) intonation screws sat further down the bridge body so were harder to adjust if facing forwards, and being lower meant they didn't foul the strings if facing the rear, So they are normally set up with the screw facing the rear. But it's really all about ease of access to the screw.

Looking at your picture, you look like you'll be better off with the screws facing forwards as the stings pull down quite severely. I'd really think about fitting a bridge with roller saddles. I've got one on a Flying V with a Maestro-style trem, and as long as the rollers are oiled occasionally, that stays in tune very well.

It does rather look like the kit controls are higher up on the body than on a real SG, limiting the Bigsby location. Unless you abandoned the flame top and went for a solid paint colour, then there isn't a viable option for filling the existing control holes and redrilling them further down.

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Thanks Simon. Like I mentioned in the edit, it looks like forward is the way to go so I'd agree with you :D I'd prefer not to fill and drill and I'm quite happy with the results of the angelus dye. I'll be sanding back the dark spots and hitting it again tomorrow though. It's not exactly heritage red but it's just right IMO. Vivid but not too vivid. Bold but not too bold. I'll share some photos when it's done!

You've been a real lifesaver mate. Thank you so much!

Hey folks, long time no see.

Been really occupied with all sorts of things but I've finally gotten to the final stage of the build but I've got 2 questions...

1, does anyone have the electrical diagram for the "triple humbucker, 2 tone, 2 volume 3 way switch" setup? I can't seem to find it on the website. I can't find any AG diagram on the website actually...

Also, I've stripped one of the screws for the humbucker but I can't for the life of me find a suitable replacement at Bunnings. Any recommendations?

Thanks, guys!

See this recent thread for various 3-pickup wiring diagrams.

https://www.buildyourownguitar.com.a...ad.php?t=10660

You'll need to get a different selector switch to do the Gibson style wiring, but you can do a 3-volume + master tone arrangement with the kit one using the Seymour Duncan wiring diagram arrangement. And there are more options if you get a Free-Way six-position switch.
Realparts have a selection of humbucker mounting screws (you'll want the metric ones)
https://www.realparts.com.au/screws-...s-springs.html

Though they are the sort of thing you should easily find on eBay or Amazon. Size 3mm x 24.5mm (or M3 x 1"). The US pickup manufacturers tend to use imperial threads, so avoid mounting screws designed for for Gibson, DiMarzio or Seymour Duncan humbuckers.

Simon to the bloody rescue again.

Cheers, mate!!! I'll look into it.

Hey Simon!

I'm having trouble following any of the wiring diagrams I've been looking at, because none of them line up with the prewired pot/switch harness in front of me. I have two A500K pots with resistors (Tone pots?) and two B500K pots (volume, right?). The A500s are grounded to the B500s, which are grounded to the 3 way switch, which is (finally) grounded to the sleeve of the output jack.

One of the pots with a capacitor has a stray ground wire.

The diagram I'm working with (https://www.pitbullguitars.com/wp-co...m4Pot%20v5.pdf) seems to align to my pot/switch combo but there only two pickups, whereas I have three humbuckers!

A few questions:

- Shouldnt I have 3 volume, and 1 tone pot?
- If so, why is there a capacitor on the other A500 pot?
- Can I convert one of the A500s to a volume pot by removing the capacitor?
- More importantly... is anyone able to draw me simple wiring diagram for a 3 humbucker / 4 pot / 3 pos switch setup?

Thank you in advance!

There's certainly a mismatch with the pot selection and the supplied selector switch. I expect the factory have just put in the standard AG wiring kit set, which really isn't good enough IMO. You can do 3 volume 1 tone (as per the Seymour Duncan wiring Diagram) with the supplied selector switch (but you'll need to swap out one of the linear pots for a new log pot), or you can do the original Gibson way with two volume and two tone pots, but you'll need a new selector switch to do it that way. Personally I'd moan to Pit Bull about it. It really isn't good enough.