HDTenEightyP/NetNews huggingface dataset:
From: scrxlt@lims01.lerc.nasa.gov (DAVID OLSZEWSKI)
Newsgroups: alt.guitar
Subject: Need to sell ... regardless.
Keywords: Your probably sick of seeing these but ...
Date: 13 Oct 92 18:00:00 GMT
Distribution: usa
Organization: NASA Lewis Research Center
News-Software: VAX/VMS VNEWS 1.41


	I desperately need to sell these items.  Please make an offer
	on any item that your interested and let's close a deal.
 -----------------------------------------------------------------------

	Yamaha APX9-12		Acoustic Electric 12 String
	Black w/ Stereo Inputs and Hard Shell Case.
 		Make offer.

	Peavey Odyssey		Electric Guitar
	Les Paul Style,  Red w/ Maple Top,  24 Frets,  2 Humbuckers
	Gold Hardware and Hard Shell Case.
		Make offer.

	Peavey Backstage Chorus 208	25 Watt Practice Amp
	2-8 inch Speakers,  Clean and Distortion Channels,  Reverb
	and Chorus,  w/ Foot Switch.
		Make offer.

	Yamaha MT 120 		4 Track Recorder
	Brand new, in the box, never been used.  All manuals and
	packing included.
		$ 300.00 or best offer.

---------------------------------------------------------------------------
-		David Olszewski						  -
-			(216) 977-0055					  -
-				scrxlt@lims01.lerc.nasa.gov		  -
---------------------------------------------------------------------------
From: larryh@cabezon.uucp (Larry Huntley)
Newsgroups: alt.guitar
Subject: Re: Date This Les Paul
Date: 15 Oct 92 02:26:12 GMT
Organization: Logic Modeling Inc of Beaverton Oregon

In article <1992Oct8.192453.8699@samba.oit.unc.edu> Daniel.Parmet@bbs.oit.unc.edu (Daniel Parmet) writes:
>A friend of mine has a Gibson Les Paul Custom that he bought several
>years ago.  I think he paid $550 for it.  He and I are curious as to
>the date (and value) of the guitar (which needs some work).
>
>The serial is 00119520.
>
	Built in 1976.  Worth only what the traffic will allow.

		- Larry Huntley
-- 
         (larryh@lmc.com)         | She made champagne out of 7-Up and
     Logic Modeling Corporation   |       cheap wine.  A chemist! 
          Beaverton,  OR          |  - "Earth To Doris" [Was (Not Was)]
Newsgroups: alt.guitar
From: hookman@titan.ucc.umass.edu (Andrew R Hill)
Subject: Hollowbody f-hole guitar wanted
Keywords: Your probably sick of seeing these but ...
Organization: University of Massachusetts, Amherst
Distribution: usa
Date: Tue, 13 Oct 1992 17:40:04 GMT

Hey folks, I was wondering if you could help me. I am selling the guitar
I currently own (Ovation 12-string) and looking for some advice on a
"blues" guitar, hollobody, f-hole, etc.  Know any good companies,
luthiers, etc.?  I am looking to spend about $200-$400 new/used any
ideas?

-Andrew Hill

Xref: sparky alt.guitar:8683 alt.guitar.bass:1555 alt.rock-n-roll.metal:10851
Newsgroups: alt.guitar,alt.guitar.bass,alt.rock-n-roll.metal
Subject: need opinions on learning to play
From: mlevin@husc8.harvard.edu (Michael Levin)
Date: 7 Oct 92 13:55:42 EDT
Distribution: usa
Organization: Harvard University Science Center


    I'd like opinions on the following. I want to eventually learn to
play the electric guitar, with the goal of playing my favorite tunes
(which is mostly metal - Iron Maiden, Metallica, Black Sabbath, etc.)
or possibly making up some new ones. This is to be purely for my own
enjoyment - I don't have any friends who play other instruments, and I
don't want to start a band. I'm 23, and have had no musical training
whatsoever (although I do have perfect pitch, and my mother was a
concert pianist). I'd like answers to the following:
1) is it possible to learn at this age? how hard is it? will I ever be
   able to play fast metal songs?
2) What do I need in terms of equipment, and how much is it likely to
   cost? What's the difference between an ordinary elecrtic guitar and
   a bass guitar?
3) What do I do to find quality instruction?

Any information about this, emailed to mlevin@husc8.harvard.edu will
be appreciated.

Mike Levin

Newsgroups: alt.guitar
From: bss2p@kelvin.seas.Virginia.EDU (Brent S. Stone)
Subject: SRV
Organization: University of Virginia
Distribution: alt.guitar
Date: Thu, 15 Oct 1992 02:47:42 GMT

Sweet Mother Vaughn

If you liked the greasy gritty fat fast funky stuff that was on
Texas Flood, go buy this new "In the beginning" release.
A few of songs appeared in "Texas Flood" as well as a few others
which were revamped into "Rude Mood" and "Boot Hill".  Still, there
are a few songs not even close to anything on later cds.

To non SRV fans, I put on my flame retardant suit and
say "screw you, weenie".
From: v201lrxa@ubvmsb.cc.buffalo.edu (MIKE SIMPSON)
Newsgroups: alt.guitar
Subject: fostex
Date: 13 Oct 92 00:55:00 GMT
Organization: University at Buffalo
News-Software: VAX/VMS VNEWS 1.41

any clue how much i can get for a slightly used fostex x-28?
i've only had it a month or so, and i've hardly used it. the 
music stores in the buffalo area have been of no help....for
those who don't know, the x-28 is a four track that was made 
to replace the x-26 from a few years back.....hell, if anyone 
is interested, make me an offer!

mike 
Organization: Freshman, CIT general, Carnegie Mellon, Pittsburgh, PA
From: Michael.Bremford@comp.vuw.ac.nz (Mike Bremford)
Subject: Re: forming chords
Organization: Dept. of Comp. Sci., Victoria Uni. of Wellington, New Zealand.
Date: Sat, 10 Oct 1992 01:52:23 GMT


In article <92282.123007WAUGH@SLACVM.SLAC.STANFORD.EDU>, <WAUGH@SLACVM.SLAC.STANFORD.EDU> writes:
|> In article <BvtEK9.6z8@undergrad.math.waterloo.edu>,
|> elee@undergrad.math.waterloo.edu (Salty Freckles) says:
|> >
|> >In article <Oct08.030331.16731@yuma.ACNS.ColoState.EDU>
|> >braunste@fjord.ATMOS.ColoState.Edu (lance the braunstein) writes:
|> >>people posting "+" chords - like B+.  what's up with that?  is it supposed
|> >>to denote a sharp?
|> >
|> >B+ probably refers to B major? B- is B minor?
|> >
|> >>steam
|> >
|> >Gene Lee
|> >elee@descartes.uwaterloo.ca
|> 
|> I always thought the "+" meant augmented (sharp 5) and the "-" diminished
|> (flat 5).  Hey, I've been wrong before though.
|> 
|> Brian Waugh                       |    "What's for dinner?"
|> WAUGH@SLACVM.SLAC.STANFORD.EDU    |        Richard Strauss

Haven't seen a B- before (except on my exam papers... ), but B+ is *definately* 
an augmented chord.

	Cheers... Mike
Newsgroups: alt.guitar
From: m713@hosp.med.umich.edu (Gerald Ross)
Subject: Heritage Johnny Smith Arch Top Guitar
News-Software: IBM OS/2 PM RN (NR/2) v0.14 by O. Vishnepolsky and R. Rogers
Reply-To: m713@hosp.med.umich.edu
Organization: University of Michigan Math Dept
Date: Mon, 12 Oct 1992 17:52:07 GMT

I'm interested in buying a Heritage Johnny Smith guitar. I've only
seen pictures of them. Has anyone played one? Any comments on
Heritage in general??

Thanks
From: hawley@adobe.com (Steve Hawley)
Newsgroups: alt.guitar
Subject: Re: sad1024 chip availability?
Date: 10 Oct 92 20:30:01 GMT
Organization: Adobe Systems Incorporated

In article <Bvqp6J.GqD.2@cs.cmu.edu> mills+@cs.cmu.edu (Michael Mills) writes:
>
>a lot of cheap 70s time-based effects used the reticon sad1024 chip.
>does anyone know if it's still available anywhere, or if anyone made
>a workable substitute?

Last I dealt with Reticon they said that the sad512 and sad1024 chips are
obsolete.  The replacement are the retical RD5106 and RD5107.  They are a
little on the pricey side, bur Reticon is pretty good about sending a couple
"engineering" samples.

Steve Hawley
hawley@adobe.com
-- 
"Did you know that a cow was *MURDERED* to make that jacket?"
"Yes.    I didn't think there were any witnesses, so I guess I'll have to kill
 you too." -Jake Johansen
Organization: Carnegie Mellon, Pittsburgh, PA
Newsgroups: alt.guitar
Date: Wed, 14 Oct 1992 20:30:24 -0400 
From: Nicolas Alejandro Arauz <na0s+@andrew.cmu.edu>
Subject: Electric Guitar & Amplifier For Sale  


LIVE YOUR ROCK-N-ROLL FANTASY!!


Peavey Patriot Electric Guitar
woodgrain finish,
new EMG Select pickup 
    (not original to the guitar), 
hard case  
stand.
  
Peavey Rage amplifier
two channels, tons of knobs.
SuperSat distortion

extra strings, cords included
IMMACCULATE

$300 takes it all
$200 for everything except the amp. 
Prices negotiable.
Call me at home at 521-7602 (ask for nick), or respond to this account.  
Must sell -
I need the $$$.
From: fennig@fennig (Kurt Fennig)
Newsgroups: alt.guitar
Subject: Re: 60 cycle single pickup hum
Date: 13 Oct 92 15:04:49 GMT
Distribution: usa
Organization: Mitel. Kanata (Ontario). Canada.
X-Newsreader: Tin 1.1 PL3

kew@cbnewsg.cb.att.com (steve.w.askew) writes:
: In article <13199@fennig>, fennig@fennig (Kurt Fennig) writes:
: > I just bought a '57 Fender Stratocaster reissue.  Naturally, it has 3 single
: > coil pickups which produce a 60 cycle hum when the pickup's are individually
: > selected.  Does anyone know any electronic wiring modifications to reduce the
: > hum?
: > Thanks- Kurt
: 
: 	If the guitar has a three way P.U. selector you can put the
: 	switch in between the detents and and get two pickups together.
: 	I thought all reissue Fender Strats came with a five way switch 
: 	installed, and a three switch was included. Or visa versa? Fender
: 	may have discontinued this practice.
: 
: 	This problem has plagued Fender lovers from day 1. People have tried 
: 	metal tape,extra ground wires. You can buy aftermarket single coil 
: 	pickups from a number of suppliers that claim their pickups are
: 	not noisy. Fender sells several diff Lace Sensor pickup. The Lace
: 	work pretty well. The Lace has about 80% of that "Fender Single coil 
: 	sound" and is very quiet.
: 
: 	I have two Strats. One is traditional single coil, one is Lace. I
: 	use the traditional for Blues/Rockabilly/Country. I use the Lace
: 	for Rock. In other words, the more dirt I use the more likely I am
: 	to use the Lace pickups. As far as tone, well I like the traditional
: 	single coil. Plus you cant get that real "Snarky" Strat sound with
: 	Lace Sensors.(see first paragragh). You can get two pickups together
: 	but the middle one is not reverse wound .    
: 
: 
: 	Steve
: 	Doin That Blues ThAng!


I talked to a guitarist/salesman/axeman at the local music shop over
the weekend, and he said I could shield the cavity of my guitar with
copper foil (which they sell for $11 with 1 sticky side) and then 
solder the copper edges together.  He said this would reduce above
60% of the hum.  
The strat of mine has a 5-way switch but I prefer the kick-butt tone
of the single coil pickups in 1-3-5 position.  I'm aware of the Lace
pickups but I think if I was to modify the strat, I would lose that
'SNARKY' tone you refer to...  Besides, the strat has vintage reissue
pickups with the stagered pole pieces...
I've got a Washburn 29 fret guitar, so I play most rock with it, but
I sure get that 60 cycle hum if I add any amount of distortion to the
Fender.
Does anyone know of anyone who has tried copper foiling the guitar
cavity to reduce the hum?

Kurt
"Please don't hurt me!"



Newsgroups: alt.guitar
From: pquince@blacks.jpl.nasa.gov (Peter Quince)
Subject: Re: National Resphonic Company, California
Organization: Image Analysis Systems Group, JPL
Date: Wed, 7 Oct 1992 16:17:16 GMT

<PXF3@psuvm.psu.edu> writes:

>Does anybody have any experience with this company?  They make reporduction
>Nationals.  How do they sound (especially the jazz/blues model)?

The whole company is just a front for the Nuclear Regulatory Commission;
their amps are awful, a drastic mix of tubes and transistors... and they
all emit this weird green glow.  

pquince
--

"I thought that if I can do anything to make sure that George Bush doesn't get 
 elected again--up to and including shaking hands with Tipper Gore--I'll do it.
                      -Frank Zappa, LA Times 10/1/92
From: toby@cs.man.ac.uk (Toby Howard)
Newsgroups: alt.guitar
Subject: Re: forming chords
Date: 8 Oct 92 11:23:50 GMT
Organization: Department of Computer Science, University of Manchester
In-reply-to: braunste@fjord.ATMOS.ColoState.Edu's message of 8 Oct 92 03:03:31 GMT

To make a sus chord, increase the 3rd of the chord by a half-step, so for A
(A, C#, E), the 'sus' is A, **D**, E. Actually there are 2 kinds of 'sus',
2 and 4. In a 'sus 2', you stick the 2nd note of the scale in (=the ninth).

For example, play a regular D major chord, keep your fingers there and add
G on the top sting 3rd fret with your pinky, and you have Dsus4. Take your
pinky off, and also take off the finger on the 2nd fret of the top string
(F#), and you have D sus 2 (D,A,D,E). Doing it with A is just as easy.

For a '+' chord, this means to 'augment' the chord, by taking the 5th, and
sharpening it. So C+ would be C,E,G#, for example. You can start with all
sorts of chords, not just staright majors, and do this + operation.
Sometimes you see it written #5 too (like Am7#5).

Toby

--

-----------------------------------------------------------------------
Toby Howard    Department of Computer Science, University of Manchester
Lecturer               Oxford Road, Manchester, M13 9PL, United Kingdom
                                                   Tel: +44 61-275-6274
toby@cs.man.ac.uk                                  Fax: +44 61-275-6236
-----------------------------------------------------------------------
Newsgroups: alt.guitar
From: cfthb@ux1.cts.eiu.edu (Howard Black)
Subject: Re: forming chords
Date: Thu, 08 Oct 1992 14:40:48 GMT
Organization: Eastern Illinois University

In article <Oct08.030331.16731@yuma.ACNS.ColoState.EDU> braunste@fjord.ATMOS.ColoState.Edu (lance the braunstein) writes:
>is there a systematic way to form a suspended (sus) chord?  for instance,  
>is Asus4 simply an A with the 4th note moved up one?  also, i've seen  

    No.  Suspended means the major third is raised a half-step.  For A,
that would mean the inclusion of a D (raised from C#).

>people posting "+" chords - like B+.  what's up with that?  is it supposed  
>to denote a sharp?

    "+" usually means augmented; for that, you raise the relative fifth by
a half-step (for A, this would be F).


-- 
   ******************************************************************
     Howard Black                             cfthb@ux1.cts.eiu.edu
     Department of Chemistry                  Eastern Illinois Univ.
From: lesher@coral.bucknell.edu (T. Lesher)
Newsgroups: alt.guitar
Subject: Re: P.H.  --  ma?
Date: 8 Oct 1992 15:46:18 -0400
Organization: Bucknell University, Lewisburg, PA, USA
NNTP-Posting-Host: coral.bucknell.edu

In article <1992Oct8.170827.16560@acri.fr> gutzmann@acri.fr writes:
>In article 2822@wkuvx1.bitnet, easteee@wkuvx1.bitnet () writes:
>>
>>[Question about "15ma" in pinch harmonic]
>> 
>I do not profess to be an expert on tab notation, but I will offer you
>a possible explanation for this.  The "pinch harmonic" is a harmonic
>tone produced with the string length shorter than the open string.
>In order to get the harmonic tone to ring nicely, you must "pinch" the
>string at the point where it is divided in half (12th fret on the open
>string, as you know).
>

I think what you are referring to is usually called an artificial
harmonic.

>For example, if you want a G (harm) on your 1st string, you will of course
>put a finger down on the 3rd fret of string 1, and then pluck the string
>at the (12+3)=15th fret.  I do this by putting the knuckle of my right thumb
>on the string exactly at the point above the fret, and then plucking the
>string with one of the i-m-a fingers.  This generates a nice bell-tone.
>I suppose this is "pinching" the string.
>

This is the nomenclature I've usually seen, heard and used:

NATURAL HARMONIC:  Rest a fret-hand finger _lightly_ directly over the
fret, and pluck normally.  Best frets to use are 12th, 7th, 5th, 4th,
and (I think) 15th; also there's a really good one off the fretboard,
possibly where the 24th would be (ppl with 24-fret axes, is this the
place?).  This is what you hear, for example, in the beginning of
Rush's "Red Barchetta" and a lot of other songs.

ARTIFICIAL HARMONIC:  See quoted text for a good description.

PINCH HARMONIC:  This is tricky for beginners.  You hold the pick so
that the tip or edge of your thumb is just about flush with the
striking edge of your pick.  Then you hit the string.  As the pick
plucks and string and comes off it, you thumb brushes (or "pinches")
the string, putting an edge or harmonic on the note.  It's barely
noticeable on an acoustic, but it's usually how they can get get those
"squeals" on solo notes on an electric.

The trick here is _where_ you pluck the string.  It's like an
artificial harmonic.  Pluck 5, 7, 12, etc. frets (or where these frets
would be) above the fretted note.  For example, if you're at the 5th
fret, pluck at the 10th, 12th, 17th, etc.  You'll probably have to
guesstimate above that.  If I'm not mistaken, the "15ma" means that
the note sounded (the "squeal") is two octaves above the note that
would be sounded without pinching.
-- 
		Tim Lesher, aka <lesher@bucknell.edu>
	     "The mantle of leadership is decorated with
	     concentric circles over the heart."-- anon.
Date: Tuesday, 13 Oct 1992 16:59:46 PST
From: <WAUGH@SLACVM.SLAC.STANFORD.EDU>
Newsgroups: alt.guitar
Subject: Re: Hollowbody f-hole guitar wanted
Distribution: usa
 <1992Oct13.190327.22119@lsa.umich.edu> <1992Oct13.224305.25429@den.mmc.com>

With all this talk about ES-125s floating about on the net I thought I might
post a response I sent to an alt.guitar reader when asked about Gibson's budget
arch-top.
-------------------------------------------------------------------------------

Ah yes, the ES-125.  The 125 was introduced in 1940 to replace a nearly
identical ES-100.  Both were based on the L-30 archtop and early models of the
100 featured the "Charlie Christian" bar pickup.  By the time the 125 was
introduced the pickup had changed to the more familiar six pole piece design.

If I may quote from "American Guitars: An Illustrated History:"

     Dating back at least to 1948, the postwar noncutaway ES-125 was
     substantially different form its early-forties predecessor.  It
     became Gibson's most popular electric in the 1950s, with over 26,000
     sold during the decade.  It featured a noncutaway arched body, a single
     black pickup mounted near the unbound neck, and a trapeze (tailpiece)
     with a raised diamond.  Variations on the basic single-pickup, thick-
     body ES-125 include the 125T (1956, thin body, only 1 3/4 inches deep),
     125TD (1957, thin, two pickups), 125T 3/4 (1957, only 12 3/4 inches
     wide), 125TC (1960, thin cutaway), 125TDC (1960, a TC with two pickups),
     125CD (mid-sixties, thick cutaway, two pickups) and 125C (by 1968, like
     the CD but with one pickup).  The 1970 TDC was the last remnant of the
     line; all were gone by the following year.
          The 1954-1958 ES-135 was a fancy ES-125: bound neck, multi-layer
     pickguard, trapezoid markers.

I believe the 125 had a laminated wood (plywood) top and bottom, like the
ES-175 and ES-300 series.  The 125 was also never offered with anything but
P-90 (soapbar) single coil pickups.

Without knowing the exact model you are considering it would be impossible to
estimate a value.  My guess is that a 1965 ES-125CD would go for about $500-
$800 dollars here in the Bay Area with its original hard shell case, if one
could be found.

While it is an excellent instrument with a clear, full sound when amplified
I don't know of anyone (with the sole exception of Charlie Batty of Little
Charlie and the Nightcats) who uses a 125 exclusively while gigging.  Most
prefer the ES-175 and its humbuckers which give the fat, emphasis-on-the-
mid-range sound that characterizes Gibsons today.  I have always like the sound
of the soapbar pickup and maybe it is catching on with the single-coil crowd
as an updated model, the P-100, is appearing on some Les Paul Specials.

All in all the 125 is a fine instrument and if you can make a good deal on one,
snap it up.  Coolness...

Brian Waugh                       |    "What's for dinner?"
WAUGH@SLACVM.SLAC.STANFORD.EDU    |        Ted McCarty
From: cskeaa@vehka.cs.uta.fi (Ketola Aarne Vesa Pekka)
Newsgroups: alt.guitar
Subject: A worm in my guitar!
Date: 12 Oct 92 10:37:15 GMT
Reply-To: cskeaa@vehka.cs.uta.fi (Ketola Aarne Vesa Pekka)
Distribution: alt
Organization: University of Tampere, Finland

I just found that somebody is eating my acoustic guitar from inside.
And the traces look like she/ he is somekind of worm.
Any experiences of getting rid of guitar-eaters????

-pekka
--
##########################  'Contrariwise', continued Tweedledee,'if it was
     Pekka Ketola        #    so, it might be; and if it were so, it would be;
  Keskisenkatu 6 K 63    #    but as it isn't, it ain't. That's logic.'
 33710 TAMPERE,  FINLAND #    (Lewis Carroll, 1871)
From: dam@dcs.glasgow.ac.uk (David Morning)
Newsgroups: alt.guitar
Subject: Re: Opamps?
Date: 7 Oct 92 09:24:33 GMT
Organization: Glasgow University Computing Science Dept.

osminer@spot.Colorado.EDU (OSMINER MATTHEW COREY) writes:



>i'm still looking for my old schematics.  The best Preamp or amp
>for that matter is a push pull style.  This is what the old tube
>amps are usually set up to do as well as the bulk of CMOS and
>Transistor models.  The concept is just two MOSFET's or BJT's
>one PNP and the other NPN.  One is active when the input signal is
>negative and the other is active when the signal is positive.
>The response is quick because you're always on an active basis
>and the sound is superb.  now if I could ever find the bloody
>schematic I had for one I'd send a description!!  Anybody got
>something similar?

What? Are you talking about a complimentary pair configuration?

You'll find a MOSFET version in either the Hitachi Applications notes
ir the International Rectifier equivalent.

What you appear to be describing is a standard class AB amp as used in HiFi
systems of the non-exotic variety. Bread and butter design available
anywhere.

Dave

-- 
Newsgroups: alt.guitar
From: mikem@col.hp.com (Mike McTigue)
Subject: Re: output levels and impedences of guitars and basses
Date: Wed, 7 Oct 1992 15:48:09 GMT
Organization: HP Colorado Springs Division

lawt@tekig7.PEN.TEK.COM (Lawrence M Trout) writes:
> I would like a rough idea of the typical output levels of both electric
> guitars and basses with both active and passive pickups. Also acoustic
> electric and piezo pickups. If any of you electronic buffs out there have
> measured your own guitars or basses or maybe have looked this up, please 
> fill me in. I am thinking about designing some effects for both guitar
> and bass and need to know about compatability problems that might arrise.
> 
> Thanks.
> 
> Larry Trout
> 
> P.S. anyone out there with opinions on Carvin guitars? I love mine!


I've measured a few different pickups.

    Original strat pickups           ~ 6 to 7k ohms

    Seymore (?) Duncan Qtr Pounder   ~ 14 to 15k ohms

    Carvin Humbuckers                ~15k ohms (I think. Maybe higher)

This is the resistance. Of course is series with a rather large inductance.
I haven't measured the inductance (it would be easy to) of these
various pickups. The resistance and inductance increase as the number
of turns on the pickup increase. The resistance increases linearly and
the inductance more like the number of turns squared. If the pickup is
loaded into a high impedence (like a fet or hi z opamp), then this
pushes the low pass corner frequency higher. Typical passive guitar
volume pots load the pickup with 250k or 500k (neglecting the cable
loading and the position of the volume pot). Generally, the lower the
number of turns, the lower the signal produced, the lower the resistance,
the lower the inductance, but the higher the freqency response since
the output impedence is lower. I'm sure there are other effects such
as the magnet type, the parasitic capacitance of the windings, etc.
Maybe someone who has thought about this more than I could post this
info.

Anyway, I would try to keep the input resistance to any home made effects
at at least 250k, preferably 1M ohm.

By the way, I do have a guitar I built with Carvin neck, tunners, bridge,
and pickups. It is an excellent guitar. Not a strat, but then I got it
to get different sounds than my strat.

Good luck!   Mike M