Hot Rod Maverick

Paul Redmond · From: Illinois, USA

Here's the Maverick I've mentioned to y'all on the Forum.
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Paul Redmond · From: Illinois, USA

Try again!!
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Antolina · From: Dunkirk NY

Whatever it is yer trying to do... it's not working. Question

_________________
The only thing better than doing what you love is having someone that loves you enough to let you do it.

Sho~Bud 6139 3+3
Marrs 3+4

RC Antolina

Paul Redmond · From: Illinois, USA

One more try.
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Paul Redmond · From: Illinois, USA

Well, guys and gals, I tried everything b0b told me to do to get 3 pics up here and it didn't work. I sent the 3 pics to Cass Broadview in the hopes that she can post them. b0b mentioned an 'okay' prompt. I don't get that prompt when I try to send the pics.
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Cass Broadview · Posted 21 Nov 2007 8:17 am

Hi guys i am going to post Pauls photos of this awsome looking Sho~Bud Maverick for him. On a Marverick Paul? Incredible!

John Billings · From: Ohio, USA

Paul, nice job! I had trouble posting some pics last week. Although it says that pics will be downsized automatically, that's not actually the case! It will resize automatically up to a point. If you pic crosses that line, the whole process stops. Try reducing the size of your photos, and see if they'll work then.

Russ Tkac · Posted 21 Nov 2007 8:46 am

Sweet Paul!

That was like the maverick I started on. What a great compact steel package.

Now, how about some Whitney pictures? I've only seen one of ebb's. Very Happy

Russ

Paul Redmond · From: Illinois, USA

Russ - I'll shoot some pics of my S-12 ASAP, but until I figure out this pixel-reduction thing on this end, I won't be able to post them. Cass was kind enough to post these for me. Send me your email address and I'll send them your way when I get them done.
Re: that lock lever on the Maverick, it holds the 7th F# in F# for normal playing. When it's released, it 'releases' the string to E and is tuned at the endplate. When I drop the E's on 4 & 8 with RKR, the rocker shown in pic #2 pulls the E back to F#. You can see another rod coming off the other end of the rocker. That goes over to the LKL and allows #7 to pull E to F in tandem with 4 & 8 for unison notes. Most of the bellcranks on the guitar 'float' on their shafts. They're slotted to allow them to rotate in place, yet still return to 'bump' on the stop screws holding them in place. That's their 'neutral' position. Most of them have an ear with a hole in the ear for another rod with a hook on the end. Those rods go to another pull. I made most all of this stuff back in 1979 before I ever had any idea how a pulling system should look. Beginner's luck. The black steel frame rails were cut from my dad's old furnace blower motor frame. I made the pullers out of tool steel not realizing that aluminum would have been sufficiently strong. The metal decorative strip along the bottom of the front skirt was cut from an old storm window with a slotting saw and then polished. Some of the pullrods are getting rusty and should be replaced with stainless rods. I made these from cold-rolled gas welding rod and they're showing their age. The brass bullet bushings are threaded and have a locknut behind them. This makes on-the-job tuning adjustments a real nightmare. Fortunately the guitar is stable enough that it seldom requires tweaking at a gig. Those bullet bushings seat in cones in each crank, not your most friction-free arrangement, but very precise. Aside from the RKR being a bit stiff, the guitar plays very effortlessly. It's tuned ---F#,D,G#,E,B,G#,F#,E,B,G# front to back. RKR drops the E's, RKL pulls #9 to D, LKL pulls E's to F, LKR drops #2 to C# and #6 to F#, LKV pulls #4 to F#. It's a raise-predominant system, so notes can't be split.
I like to use the A6th side of the E9th tuning and this thing lends itself well to that. With the lock dropped, I get the Sacred Steel chords and unison notes to give this thing a fat sound. The pickup is a 1985 hand-wound George L's 12-5 wired into the full-humbucking mode at 19,500 ohms.
I couldn't believe S-B would put a plastic covering over such a beautiful birdseye cabinet, but they did. That came off right away and I immediately noticed an increase in sustain.
I'm anxious to hear the results of John Coop's Maverick conversion. Jeff Newman remarked once that the Maverick had one of the most rigid cabinets ever and he even admired the tone of these instruments. I'm a believer. I played this thing at a gig for the first time in some 28 years, and it flat-out turned some heads!!!
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Paul Redmond · From: Illinois, USA

The pedals are standard in Emmons arrangement. 2nd FP pulls all 3 G#'s to A. I get very fat major, 7th, augmented, and minor chords all the way to the 2nd string with the lock dropped, and 'fat'6th stuff on all 10 in normal mode using the LKR when needed. That 'short Uni tuning is great!!! Thanks, Bill Goddard.
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Don Everett · From: Durant, Oklahoma USA

I just got off the phone with Paul and got to listen to this guitar. It sounds great.

Paul Redmond · From: Illinois, USA

If your Maverick has that ugly vinyl covering on it, by all means pull it off of the guitar body, remove the contact glue with lighter fluid or naphtha, and have at it. I chose to strip off the factory lacquer finish and re-spray the body with R-M automotive lacquer, but that isn't really necessary to re-finish a Maverick. The vinyl covering acts as a sound-deadener and basically kills most sustain. By getting rid of it, you'll change the entire tone spectrum of the guitar. The cabinet on these little guys is actually more rigid than a Pro I and a bit 'brighter' in response. Just reset your amp a bit to cut the highs. After sitting in the case for many years, I pulled this little guy out of mothballs and was surprised at what it could do after all. IMO this little guy is a diamond in the rough. Enter John Coop
with well-made conversion components.
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