Originally Posted by anathematized_one
When I said "tremolo or whammy bar", I wasn't saying that they are different, however posting from a phone is a bitch and I forgot to put quotes around "whammy". It should have read as "a tremolo or *scare quotes*whammy bar*scare quotes*. It is not my fault English lacks specificity and that posting on a forum kills all context clues like tone of voice.
Your problem not mine.
Also, I did say that locking nuts help hold tuning and that it is pointless on a fixed bridge (which would imply that they're only good for floating bridges).
Locking nuts don't help hold tuning. What they do is they change where the string is anchored, to prevent snags and fouling when using a tremolo. That's not helping it to hold tuning, that's preventing a mode of movement which only *exists* when using a tremolo, so that it can't cause problem. Your statement implies that locking nuts help hold tuning, just not to the same degree on a fixed bridge as on a tremolo. They do no such thing.
And yes, you do need a floating bridge for a tremolo bar, that's how it moves. Putting one on the guitar you mentioned takes the bridge from fixed to floating.
The problem here is you have no idea what floating bridge means. A floating bridge can be moved in BOTH directions. A recessed floyd rose, for example, can do this. You can RAISE pitch with it, because it floats.
But take, for example, an EVH Wolfgang - The tremolo is NOT RECESSED. It sits on the top of the guitar and the only direction it can move in, is down, to lower pitch. That means the bridge on the EVH Wolfgang doesn't float. In fact, it RELIES on this fact, since the EVH D-Tuna the guitar comes with, doesn't WORK on floating bridges, as it sends the balance between string and spring tension out of whack unless the trem is dive-only, like the wolfgangs, and many, many other bridge setups, including most stratocasters bridges, are. They are still TREMOLOS, but they are NOT floating bridges, unless you specifically set them up to be.
Also as a generality, thinner necks are considered faster and I did say to go for comfort over speed.
Also, my Jackson Warrior has a standard neck and it barely is able to take the 10-52's I use. I also did say that neck width probably won't matter unless he goes to the extreme.
Learn to read. Comfort IS speed. The thickness of a neck does NOT affect how fast someone can play on it. How comfortable they are with it will. People who talk about "fast" necks, are talking ****. No such thing exists. There is comfortable, and there is uncomfortable. Speed is not the necks issue. Its the player's issue, and the neck only has an effect if the player finds it uncomfortable. Again, I can play just as fast on my thickest necked guitars, as I can on my thinnest.
Also yes, thicker strings are easier to tune in down-tuning. You have more precision as the thinner the string, the more sensitive it is to minute changes in adjustment. Thinner strings will not take nearly as much of a turn of the tuning peg at lower tunings to go out of tune.
Again, bollocks. I string my guitars with anything between 9s and 12s and none of them is "difficult" to tune. If you're having trouble keeping a guitar in tune, then it is not a good guitar, or it is set up wrong. Period. Having to make smaller adjustments based on string thickness isn't difficult.
Furthermore, I don't know his budget or goals and gave general information about woods and did state that they would significantly increase the price.
Then ASK, rather than recommending a bunch of expensive **** and talking about woods and tech well, well outside of his likely reach. It doesn't take a genius to think "Someone probably isn't going to move from a Squier Stratocaster to a £1400 guitar with a Floyd Rose, Ebony Fretboard, and a Flame Maple top, all at once", does it? You'll note that the first thing I asked was "budget".
Also, fretboard does affect sustain far more than you realise as harder woods (such as ebony) absorb less string vibration, which means more gets transferred to the neck and body where the reverberations increase sustain.
It really doesn't make that much difference, if any. The string never touches the fretboard wood. It vibrates on the fret, or the nut, and is afficed to the guitar at the bridge and the tuners, every last one of which is metal. The mass of the guitar, the transmission of string energy to the body and wood, and the tightness of the build, have infinitely, infinitely more effect on sustain than the 3mm slab of whatever hard, dense wood you choose to put the frets into. I have plenty of guitars with rosewood fretboards. None of them sustains the same. Most of the difference in sustain comes down to weight, thickness of neck, bridge, and whether the action on that guitar is higher than on my other guitars. I've played plenty of maple and Ebony boarded guitars too, and owned a couple, and, again, there is NO consistency in whether those guitars sustain better or longer. It comes down to the build and design, of which the fretboard wood is one of the most minor pieces.
There is no "metal guitar". Metal guitars and companies who primarily market to metal players essentially make their guitars metal by givinf them "metal" body styles, such as the King V or the Dinky. The only difference is cosmetic.
I am aware that there is no one metal guitar. But that's what the OP is *asking* for recommendations on. I say that in my first post, when I ask him to name some bands and guitar sounds he likes, so that I can point him towards a guitar that sounds like that. In fact, I specifically said "Metal comes in lots of forms, and Metallica and Megadeth's guitar sounds are very different, to say nothing of Lizzy and Moore!" You on the other hand went off guns blazing and told him about your preferences, with no idea whatsoever about how he wants to sound or what he wants to do. You started rambling about tremolos without knowing if he even wanted one. You went nuts on downtuning and string guage without asking him if he wanted to downtune.
You didn't ask him a single question, but the OP doesn't provide anywhere NEAR enough information to recommend anything to him properly given the "breadth" of metal guitars.
I am also positive that my post wasn't gibberish and didn't go to extremes in detail, and that everything I said goes into any guitar purchase, custom or not. I gave generalities about what affects the sound, which is the true important aspect as ANY guitar can be used for metam depending on what sound you're going for.
If you know that it all comes down to what kind of sound you're going for (And you're right, it does), why didn't you ask him what kind of sound he was going for? Surely it would have saved you the time and effort of writing out a long post to recommend about something where you have no information whatsoever, and it would have saved me the bother of correcting your bull****, when you rambled on at length about a bunch of irrelevant and/or factually wrong things.
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