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Kubicki club, part 2

#801
I don't mind taking the strings off as I would probably do it during a string change anyways. And I don't mind loosening the truss and such to get it straight. I do this every couple of years or so to make sure the trsss gets some break and also works :)
I always imagined that in order to clean frets up they need to be done to radius? Or am I wrong here?
 
#802
zuma said:
Wouldn't the most obvious advantage of using the Fretbar be that the strings are in tension?
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Exactly. Their video and illustrations show that clearly. Secondarily, it could be used to selectively plane a fingerboard (either before adding frets or on a fretless) but it is not what it was designed for. Its specific focus is to use on a problem neck that can't be tensioned to a correct bow, even when strung to pitch. I'm here to testify that after using it on such a problem neck - it does the job very well.
 
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#803
ThomasTronics said:
I don't mind taking the strings off as I would probably do it during a string change anyways. And I don't mind loosening the truss and such to get it straight. I do this every couple of years or so to make sure the trsss gets some break and also works :)
I always imagined that in order to clean frets up they need to be done to radius? Or am I wrong here?
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The tool is for necks in which this is not possible. And not because the tr doesn't work - it's because the neck wood is warped or twisted. Some necks in this condition can be steamed and straightened - but the older the wood, the less success you will have with this. If you don't trust me - ask any legitimate luthier. If the neck is too badly bowed or twisted - it's toast. This tool addresses a neck that has such issues, but just. For these examples it can save time/money and the neck.
 
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#804
So going with a radius block is a good route sine the neck and truss are in good working order.
It's just the frets are all scratched and not making very clean contact resulting in rattle.

Radius block them with high grit to not take too much off. Get a fret file to get a nice cone shape then Steel wool to buff and I should be good.

Am i missing a step?
 
#805
ThomasTronics said:
So going with a radius block is a good route sine the neck and truss are in good working order.
It's just the frets are all scratched and not making very clean contact resulting in rattle.

Radius block them with high grit to not take too much off. Get a fret file to get a nice cone shape then Steel wool to buff and I should be good.

Am i missing a step?
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There are tutorials on YouTube, but you 1st need to get the fb flat, then draw marker lines on all your frets, then start evenly sanding the whole fretboard, then see which lines are sticking around and continue sanding until all marker marks are showing fret-steel. That is step 1 - frets are all relatively level. Step 2 is using a thin 3 sided file to angle/peak the sides toward the center. Stew Mac sells thin stainless-steel fb guards that work well to isolate the fret protecting the fb. Then it's fine sanding, steel wool-ing, eraser polishing (another Stew Mac item) and polishing.
 
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#807
Gilmourisgod said:
Opinions vary in use of a radius block for fret leveling, the consensus on TB seems to be a straight leveling beam along the string path. That's all I've ever used, and it seems tonwork, but i d be curious to hear a Pro opinion on that.
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I'm not a pro, but that's what I'm using also. A little spray adhesive on some strips of 400 grit on my 2' aluminum level makes for an inexpensive fret leveling beam.

129.jpg
 
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#810
Gilmourisgod said:
I realized the old cast aluminum level I inherited from my Grandfather was extremely flat...... after I bought an aluminum leveling beam:banghead:

Even some relatively cheap levels are extremely flat, but you need a high quality straightedge or other known straight tool to find them.
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If you had access to a wide/long belt sander - that could help bring it as flat as possible.
 
#811
I have a piece of float glass I use for “scary sharp” chisel sharpening with stick on sandpaper, but it’s only 12” long. Ive used my precision ground fret leveling beam to lap a few other tools flat. I don’t know what level of precision it’s ground to, but it produces level frets, must be in the .001” range. I have access to a stationary belt sander, but its a Crapsman, don’t know how level or flat it is.
 
#812
Gilmourisgod said:
I have a piece of float glass I use for “scary sharp” chisel sharpening with stick on sandpaper, but it’s only 12” long. Ive used my precision ground fret leveling beam to lap a few other tools flat. I don’t know what level of precision it’s ground to, but it produces level frets, must be in the .001” range. I have access to a stationary belt sander, but its a Crapsman, don’t know how level or flat it is.
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It's probably not to .001 tolerances, but if used lightly it can get you close. Even with fret leveling - it's a matter of very close. A Plek is the ultimate as it's completely calibrated.
 
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#813
I need some assistance from my Kubicki brethren - I'm having grounding issues with a Jazz bass I just installed a 9v Fender/Kubicki pre in. To help sort it - I need to know the proper jack-connection order. It didn't come with the original barrel jack, so I bought one with 3 poles - tall/med/short. The three wires for it are green/black/red. (I've seen some where green is yellow instead) I'm pretty sure the shortest = red (hot) and tallest ground = ? (black or green) I've tried both ways and both work but with the grounding issue. (buzzing when pu poles are touched) I completely shielded the control cavity, pu cavities and under the covers and star grounded each to the jack. (to ground-the longest jack pole) The bridge-plate is also grounded to the jack. I've seen pics of Factors on-line where the barrel jack connections has tight clearance and the poles are nearly the same length, which makes discerning the difference difficult. On my jack the three are easily seen as different lengths.

The only other thing that will be hard to answer is regarding the pu inputs on the circuit board. I am using single-coil J pu's (NJ4's) which have 2 (white/black) wires. I had a 2 socket connector so I soldered the center white pu wire to the white socket wire, and the black pu (ground) wire to the (bare wire) 'black' socket. On a Kubicki there are 3 wires into a two socket connector - most likely due to the pu's being humbuckers. Anyway, plugging the sockets in one way or the other produced the same result - works but with ground issue. I touched the circuit board pu poles and (from the left) # 2 & 4 buzzed when touched with a small metal screwdriver, so I'll assume those are hot?

Anyway - it must be something simple like a wiring issue on my installation, but any insight will be appreciated.



t​
 
#815
Hey Kubicki team.

When measuring relief we typically use the 4th string. With the extended D string should I focus more on getting the neck flat or does it need more typical relief because it longer? 0.015" too much of flatten that baby out.

Also when we capo off at the first fret. Is it the 3rd fret on the 4th string?? :drool:
 
#816
I don't change my technique when dealing with the Kubicki. I use two capos at the 1st and 16th fret, then measure at the 7th. If I can't get a capo at the 16th, I might have to move it up a fret or two, depending on the instrument. I then measure the neck relief at the 7th fret. I like as straight as possible, maybe around .008".
 
#819
Relsom said:
The solder lugs are lopped off a little is all, right?
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Yes. Says modified on the site and trimmed solder lugs on the invoice.I figure for $12 basically the same price I’d just order it from Carla and not worry about anything. If you plug the Jack number into a search they’re all a little different and different lengths it appears. IDK never had to replace one till now.
 
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#820
Fine day fellow Factor fans! I've been in clean-up mode and came across this old Kubicki stuff in an old backpack. Sadly, there was water damage but hey, it's better than nothing. Feast your eyes on this price list and a Key Factor pic I scanned for us:
 

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