Welcome to my WBO23 build thread! Gonna get hella nerdy over here. This is going into the non-bass category.
Supersymmetry is an essential concept in many physical and mathematical theories, including quantum mechanics, quantum field theory, string theory (a concept all guitarists and bassists should be familiar with) and many others. More specifically, it is a spacetime symmetry between half-spin fermions and integer spin bosonic particles. The study of Calabi–Yau manifolds has even shown that different string theories of type IIA and type IIB are related through mirror-symmetry, resulting in the same physics. However, specific string theories do not obey typical supersymmetry (such as E7xE7, SU(16) and E8), which require the existence of tachyons (with imaginary mass) or a special case of misaligned supersymmetry. In general, with the maximum of eight supersymmetric copies and a spinor having four degrees of freedoms, 32 kinds of supersymmetry are possible. In d dimensions a spinor is approximately of size 2^(d/2) or 2^((d − 1)/2), limiting the number of possible dimensions in supersymmetric theories to 11.
Now that we’re all caught up on the basics, let me present my own supersymmetric project.
This is my second ever build from a couple of years ago. It has some visual flaws and woodworking mistakes of course, but it plays nicely and sounds good. To this day it is my favorite guitar for recording. Here’s the problem, though: It’s almost impossible to play standing up. It suffers from significant neck dive, and I sometimes hit the long lower horn with my left wrist when playing higher up the neck.
I think there’s hope for this design if I can reverse it. Oh, now that we’re at it I should reverse the headstock as well to have the whole guitar mirrored. And use a headless bridge to get rid of any neck dive while keeping the headstock. And make it black. Yes, it has to be black. Definitely black.
It will be the mirrored shape of my old guitar; besides that, I’m planning the following changes:
- 2pc flamed birch body
- flamed maple top and headstock, stained black with faux binding (and a black veneer underneath)
- multilaminate maple and purpleheart 5 pc neck with a bog oak fretboard
- Seymour Duncan Black Winter bridge humbucker, no neck pickup.
- master vol, master tone, coil split mini toggle switch
- ABM headless individual bridges and headpieces, all black
- longer scale length with slightly fanned frets (vertical nut with slanted bridge)
I recently started recording with a new metal band, and we use low tunings. Very low actually, Bb standard and drop Ab. I’m thinking 26.22” (666 mm
) on the bass string and 25.72” (654mm) on the treble side, so it’s somewhere between a Fender (25.5”) and a baritone (27”).
Alright, let’s do this!
Supersymmetry is an essential concept in many physical and mathematical theories, including quantum mechanics, quantum field theory, string theory (a concept all guitarists and bassists should be familiar with) and many others. More specifically, it is a spacetime symmetry between half-spin fermions and integer spin bosonic particles. The study of Calabi–Yau manifolds has even shown that different string theories of type IIA and type IIB are related through mirror-symmetry, resulting in the same physics. However, specific string theories do not obey typical supersymmetry (such as E7xE7, SU(16) and E8), which require the existence of tachyons (with imaginary mass) or a special case of misaligned supersymmetry. In general, with the maximum of eight supersymmetric copies and a spinor having four degrees of freedoms, 32 kinds of supersymmetry are possible. In d dimensions a spinor is approximately of size 2^(d/2) or 2^((d − 1)/2), limiting the number of possible dimensions in supersymmetric theories to 11.
Now that we’re all caught up on the basics, let me present my own supersymmetric project.
This is my second ever build from a couple of years ago. It has some visual flaws and woodworking mistakes of course, but it plays nicely and sounds good. To this day it is my favorite guitar for recording. Here’s the problem, though: It’s almost impossible to play standing up. It suffers from significant neck dive, and I sometimes hit the long lower horn with my left wrist when playing higher up the neck.
I think there’s hope for this design if I can reverse it. Oh, now that we’re at it I should reverse the headstock as well to have the whole guitar mirrored. And use a headless bridge to get rid of any neck dive while keeping the headstock. And make it black. Yes, it has to be black. Definitely black.
It will be the mirrored shape of my old guitar; besides that, I’m planning the following changes:
- 2pc flamed birch body
- flamed maple top and headstock, stained black with faux binding (and a black veneer underneath)
- multilaminate maple and purpleheart 5 pc neck with a bog oak fretboard
- Seymour Duncan Black Winter bridge humbucker, no neck pickup.
- master vol, master tone, coil split mini toggle switch
- ABM headless individual bridges and headpieces, all black
- longer scale length with slightly fanned frets (vertical nut with slanted bridge)
I recently started recording with a new metal band, and we use low tunings. Very low actually, Bb standard and drop Ab. I’m thinking 26.22” (666 mm
) on the bass string and 25.72” (654mm) on the treble side, so it’s somewhere between a Fender (25.5”) and a baritone (27”).Alright, let’s do this!
