Recent content by kurher

You may want to read Sidney Reeve's "The rational theory of music": https://archive.org/details/rationaltheoryof00reev One certainly doesn't have to learn theory in order to play and/or write. Music is a listening art first and foremost. There's also a lot of theory for theory's sake out there...

Ah, the notorious G-string tuning instability. Very often it's just a case of bad tension to stiffness ratio (like using a .017 for the G). Tune it to B or even A and the problem's gone. Many times, the string comes back on the saddle on a different spot when releasing the bar. I've had this...

Rubber tubing. Probably similar to the ones used by Fender for mounting the pickups on the pickguard.

Yes. Remove strings and springs (no tension on the bridge). Then tighten the screws until the back side of the bridge lifts up and then loosen them until it rests on the body again. Loosen them a little more (a quarter turn or so) and its set. Repeat for the rest of the screws. Some people...

They used to be non-export but they could still be found if you look around. I've only played one in person (MIJ). Many slightly different versions exist but they used to come with Texas Specials and Japanese electronics. Neck profile was a little thick at the top but otherwise a nice guitar...

In 1967 Fender started offering a maple fingerboard option for the strat (although earlier examples do exist) at an additional cost. That was a separate maple fingerboard and had no skunk stripe on the back. The one piece maple neck was reintroduced in mid to late 1970, so a 1969 model should...

What is wrong with those? Care to elaborate?

While this is not necessarily related to your problem, it is not advisable. Keep the height screws on each saddle side at the same height for best results (and to avoid problems now as well as later on). A few things to look for when troubleshooting your tuning problems: - Check the slots in...

No need to shout. Some things (like the "3-bolt" argument) have already been stated many times before (just run a forum search) and will probably continue to do so in the future. Being kind and patient usually helps you get your point across.

It is supposed to have the characteristic differences of a lefty without the inconvenience of a flipped body. For a truer reissue there's always the Japanese ST68.

As others have noted, a '72 should have a nitro topcoat. I would test a very small area with acetone before proceeding to remove the whole thing.

If the stripe moved further away from the maple, it will need to be glued and drop filled/refinished. If it's only on one side it might not get worse but to be sure, unless you're handy with this stuff, take it to a good repairman to sort it out.

The numbers published by many manufacturers are usually calculated using this formula: Tension = (Unit Weight x (2 x Length x Frequency)2) / 386.4 They can be helpful but tension alone will not determine the "feel" or "sound" of a string.

It is. Might not be much but it's there. For example take a .010 plain steel, in standard pitch and scale length (25.5') and look at the listed tension of a few ones: D'Addario XL - 16,22 lbs Curt Mangan - 15,98 lbs Stringjoy - 17,80 lbs GHS - 16,60 lbs Thomastik-Infeld - 17,20 lbs

I guess the reasoning is "why change it if people keep buying them?" Sure, ideally all strings should be close to the same tension. However, balance is not just about tension. For instance, a .017 plain steel string is a stiff piece of wire and tuning it to G doesn't yield the best results...