fat ol' sun

Just had a look at the cct diagram. Single op amp with enough compliance to drive a small speaker. I'm not familiar with the sound of it having never played one, but an additional amp section preceded by an attenuator pot would give you a master vol type control. You could crank up the current vol control to full for max distortion, the attenuator pot would control the vol without adding additional distortion much like a master vol. You would also need all the biasing, decoupling malarkey, in broad terms 40% of the existing comps again in terms of additional "stuff"

as in low volume, high distortion type tone?

Yep, presuming conventional switching, you're good to solder the screen to ground (the vol pot case) and the "ref" or "cold" or "gnd" (what ever your diagram labels it) line to the pot case as well. Easier done with low melting point solder and a good high power iron. If I'm stating the fucking obvious, apols, but I tend to use newspaper with a hole torn in it to protect the guitar finish from possible solder spatter of splash. Hope it all goes well.

So two of these pups. How are you fixed for switches, tone and volume pots - ie what's the layout, eg one switch, one vol, two tones?? You don't want parallel switching, what are your objectives function wise? If you are going to try some series switching or layout, wiring both grounds of each to the pot base is unlikely to be an option.

What kind of pick ups are these?

If I am the over bearing figure waggling adult, it's not my intention to be so and certainly not to hound. The advice is given with the best of intentions, I'd sooner see somebody do a good job than a poor one.

YoungA, I offer the following: Boring a hole with a screwdriver instead of a drill is not at all good. It simply can not end well. If the parts don't fit physically, you don't have the correct parts. Do not undertake the project and expect a positive result if you don't have the correct tools and parts. Jamie knows his stuff and is very polite.

Just had a look at a bigsby trem (it's been a while). There are no bridge posts. If the trem is not perfectly square, there is a good chance there is a twisting torque about the wood screws to which you refer.

I've had a few people I know build electric guitars, make mods etc. The impression I get is that it is way more challenging than perceived. Matching necks to bodies be a significant challenge, which is readily fucked up. The benefit of YA doing mods on guitars depends on whether you are learning anything from these projects. If you are then there is a value, but of course, an expense.

So I'm curious to know, if you don't mind me asking, did you have to drill any holes to do the mod?

Not really reversible then. By reversible I mean that the guitar is returned to it's original condition before the mod, holes to fill, finish to repair would negate that. Even if the holes are filled, the composition of the body of the guitar has changed. Some mods can be done that are wholly reversible, we'll hear in due course if this was one of them. Not so sure about the neck comment, if the trem is asymmetrical wrt a line through the length of the neck, certainly the load on the neck will also be asymmetrical, but then I'd of thought that that is no different for all guitars. String tension on top three strings is of the order of 60lbs, tension in lower three strings is of the order of 45 -50lbs, hence asymmetrical load. As in the above, bridge post loads are dissimilar in a unmodified guitar.

Don't know too much about bigsby trems, had one on a guitar I kept for less than a year. Certainly never converted a guitar for bigsby installation. Question is, is the mod reversible? If it is, the mod is nothing more than an experiment. I'm guessing holes and shit have been drilled. Nonetheless, the question is posed.

I've got a didgeridoo. Got it from a family member who came back from a trip to Australia. First thing in the instructions proved a little challenging. "The mouthpiece of your didgeridoo is formed from a honey based compound. You will need to mould this to your mouth. Place the didgeridoo outside in the sun until the mouthpiece is soft and offer it up to mouth to form a mouthpiece unique to you" Not a lot of point waiting for the honey to soften in the sun of Aberdeen. I used a heat gun. Biggest challenge to me was the circular breathing. Nail that and you'll probably do pretty well

Ryan, +1 for playing with other musos improves playing... Also good for jamming technique in general. Different genres, different musos, different jams can seem taxing, but is ultimately beneficial. The biggest problem I have can be falling into a comfortable zone where you can find yourself rehashing the same old same old. I've been there all to often and equally have seen some good musos do exactly the same. The more you break out the comfort zone, the more you learn/ absorb, the more rewarding you find playing. Curiously I found playing, practicing and studying Jazz had the biggest positive effect (for the least effort) on my playing in general. Good thread Chris.