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Description
The original bolt on aluminum neck design from Robot Graves Industries. The neck is milled from a solid piece of aluminum for incredible durability, rigidity, and sustain.
It is designed to be an aftermarket fit with most Stratocasters, Telecasters, and Jazzmasters. It comes with everything you need to replace your current neck with one from RGI.
Necks are built to order with your specifications, so expect up to a two month wait before receiving your neck.
NECK SPECS:
- Material: 6061 Solid Billet Aluminum
- Scale: 25.5"
- Nut Width: 1 11/16”
- Weight: Solid Billet: 3 lbs 3 oz, Hollow Richlite: 2 lbs 2 oz
- Frets: 22 Stainless Steel Medium/Medium
- Fretboard Radius: 12”
- Tuners: 3+3 Sperzel Locking
- Nut: 6061 Aluminum (cut for heavy gauge strings)(0.013", 0.020", 0.024", 0.035", 0.046", and 0.056") or cut to your specific gauges if specified
- Heel Pocket: Fender Strat Style (5/8” deep, 2.18” heel width, 3” total length, 5” radius heel curve)
- Thickness: .700” at Nut, .725” at 7th fret, .740” at 12th fret .760” at 15th fret
- Neck Shape: Very flat U shape, maximum thinness without structural loss, no tapered heel
Includes: 4 Stainless Steel 1 1/2 “ 10-24 mounting bolts, backplate, buffing compound, and 2 microfibre cloths
0.895" THICK NECK FOOTNOTE
This new thicker shape comes in at only an ounce heavier. To achieve this, the neck is machined from two pieces of solid aluminum, with hollow chambers under the fretboard and the fretboard bolted and glued into place. After testing with string tension, it is the same strength as the thinner 0.700" profile, but does limit the inlay options. Blank fretboard, Slanted blocks, and Clear options are not possible without exposing the bolts themselves; so please take that into consideration when ordering.
FREQUENTLY ASKED QUESTIONS
- WHY ALUMINUM?
When looking for a neck, there are a lot of different variables to look at. Structurally, a solid billet of aluminum will offer the most rigidity of the option possible. There is no truss rod or other materials to stress and strain during temperature or moisture changes. Additionally, that additional strength can help with the wear and tear of tour, stages, and other bumps and bruises any guitar will have to sustain during it’s lifespan.
Sonically, the density of aluminum may give you an advantage with more sustain and over tones, since the neck won’t sympathetically vibrate with the strings. This is, as with anything, certainly up for debate as to what your ears hear and your hands feel.
It’s worth noting that it will feel colder to the touch since aluminum is a better thermal conductor than wood, and it does noticeably weigh more.
- WILL THIS FIT MY GUITAR?
YES: For the most part, if you’re running a Telecaster, Stratocaster, or Jazzmaster, you should be able to bolt this neck directly onto the body.
MAYBE NOT: If you are running a T-60, Jaguar, Mustang, or 72’ Telecaster Deluxe; you cannot run this neck without modifications due to scale and bolt pattern restrictions. If you are confused and unsure, contact a local luthier to help you with your project. It’s a worthy profession to support and you’ll learn new things.
If you are considering a guitar not mentioned here, then I’m not sure.
- CAN I DO THE CHANGE OVER MYSELF?
YES: Most seasoned guitarist can probably do this, yes.
BUT READ THIS: I have pre-drilled the necks and they are tapped with machine bolts. You may have to adjust neck angle, saddle heights, and intonate your guitar afterwords. If your action is still too loose for your preference, a luthier can help you with adjusting the nut string depths to a tighter playing style. The depths are set fairly high to allow for adjustment after installation.
- WHAT IS THE 700 SERIES?
The 700 Series is the first set of necks that I designed, named after the thickness at the nut for the design. I will be continuing this convention for each style going forward, so anything with this thickness will be in the 700 Series, and further designs may be in a new series for their specific design requirements.
This is also basically outdated at this time; I don't think separate model numbers for neck profiles will be easy to navigate for customers; so just ignore this 700 series thing. Maybe I'll call the necks some other cool name, but in the end it's just a part for your guitar, don't worry about it.
- CAN I GET SOMETHING CUSTOM?
SHORT ANSWER, YES: I can make a neck for any project. In the recent past I’ve also made custom guitars, hand-wired tube amps, cabs, a few different pedals and even a pickup.
CUSTOM, MULTIPLE RUNS: If you are a guitar builder and are interested in ordering a batch of necks custom fit and finished for your company or brand, please reach out. I can offer discounts for custom work at scale.
FULLY CUSTOM, ONE-OFF BUILDS: If you have your sights set on something fully custom, I’d be glad to chat with you about your needs. This process is expensive. The new neck would need to be prototyped, engineered, manufactured, and then finished, all with processes and measurements outside of my normal set-up. You’d be looking at at least a handful of months and a starting price around $5,000.
- CAN I GET MINE CHEAPER? FASTER?
no
- AFFIRM ASKED ME TO ADD THIS, IF YOU USE AFFIRM PLEASE READ THIS OR SOMETHING LIKE THAT
If you finance with Affirm and if one or more items in your order has an extended ship date, your loan payment(s), including interest, may be due before the merchant ships all of the items. Please note that you may not receive a rebate of any interest that may have already accrued on an amount that later gets refunded.
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At 0:58 this interview for Premier Guitar's "Rig Rundown" series released on October 9, 2019, Nuñez describes the genesis of a custom guitar that would replicate the capabilities of the G&L F-100 he used on Admission. Among the parts used was an RGI neck he had been given by Alex Paul.
Nuñez: So, this was something I came up with with a good friend, Joe Koontz. He was in some South Florida bands like Cavity… He used to be in the band triple A, really raunchy punk stuff. And he just got really into building guitars and I played some of Mosrites and a couple of other guitars that he made and they were outstanding. And on the record that we just put out, Admission, I had done a lot of stuff with this whole deal (gestures to the guitar). And it was a lot do with a good friend of mine, Max, lent me… uh, is it… yeah, G&L F-100. And it has this, you know, G&L, I guess, trem, that really was too much fun play and it end up, like, really doing a lot on the record. And later I’m like, “Shit, I need to do that live.” And Joe had offered to maybe collaborate or, like, you know, maybe like trade studio time for a guitar, and I’m like “Okay!” And, super kind dude, Robot Graves, he sent me this neck and I was like “Joe, I have a neck. Let’s make the body.” And he has made a Mosrite that I really liked, but I’m into the guitars with this, you know, kind of carve and contouring and just, big on like, not, you know, being uncomfortable live.
Kies: Yeah.
Nuñez: You know?
Kies: Looks like a [sic] old muscle car.
Nuñez: I know, right? (laughs)
Kies: Sexy curves.
Nuñez: So, yeah, very… You know, from Miami, so yeah… So, I incorporated, you know, the Mosrite stuff that he had done that I’ve really been a fan of; the neck, which has a certain tone; and I guess your mind’s at ease when you’re traveling. You know, checking and stuff, you never know how it’s gonna come out on the other side, but I always love the L500L, from Bill Lawrence. The Master was something I was turned onto by my friend, Bobb, Bobb Bruno from Best Coast. I played a Jaguar that he had a Master on and I’m like “Shit.” I could– I was like that guy that maybe played a guitar you told him to play a little too long. But I just love, you know, the fact that it’s, like, there’s a certain glide, it stays in tune great, um… So yeah. It has a tone, I will say it does have a tone.
Kies: Really?
Nuñez: Yeah.
Kies: I know that you've always kind of been, another Florida company, ECG...
Nuñez: Yeah yeah!
Kies: ...with the aluminum necks, like, what do you like about that, obviously the travel-wise and the consistency's sake, but tonality, what do you just dig about that?
Nuñez: I think there's a certain depth. There's like a waah, you know? Like, ooo. Like, this like, its almost like if you're in the studio and you put a, like a, 2 or 4 dB boost, at like a... 40 or 35 Hertz bell on a bass or something. You always have that glow wherever you're at on the neck. So I feel like this kind of has that and it's a certain sustain that's really like a signature of the aluminum-style necks. But, uh, yeah, I mean, the guitar is definitely designed after like, what I needed to translate the stuff that was done on the record with multiple guitars. And, you know, some of the stuff was pretty– pretty intuitive, other stuff like on "The Spy" was fun to figure out. Like, you know, literally, he put a piece of paper on top of it, a guitar body, before staining it all and like, we drew the pickguard on and, it was a cool collaboration with my friend, you know?
Kies: What body, what did you end up going with here?
Nuñez: This is mahogany.
Kies: Okay.
Nuñez: Yeah, he does all the Koontz custom guitars, they're all mahogany. I mean, he does whatever, like, or like, you know, you could do, like, maple tops or whatever, but I think, like, the default wood he gravitates towards is mahogany, which I have no problem with, you know?
Premier Guitar, “Rig Rundown: Torche's Steve Brooks & Jonathan Nuñez” by Chris Kies (October 9, 2019)> This beauty cherry picks aspects from Jonathan Nuñez’s favorite guitars. It all started with his love affair with his friend’s G&L F-100 while recording Admission. The F-100 he borrowed had a smooth floating trem arm that bends and wobbles all over the new record. “The trem was too much fun to play,” Nuñez jokes. “But once we finished the record, I realized, shit, I need to pull this off live.”> So, with the task of reverse engineering a guitar that is suited for Torche’s established roar and new tones flexed on Admission, Nuñez turned to some more friends. To keep in tradition with bandmate Steve Brooks’ and Torche’s steam-locomotive sound, he got a metal neck from Robot Graves Industries and put it with a curvy, mahogany, Mosrite-style body built by fellow South Florida rocker Joe Koontz (formerly of Against All Authority aka AAA). Nuñez has always been partial to the Bill Lawrence L-500 humbucker and thanks to his buddy (and Rig Rundown alumnus) Bobb Bruno of Best Coast turned him onto the Mastery OMV Vibrato, so those features made into this custom piece. All of his guitars take custom-gauge Dunlop strings (.070–.052–.046–.017–.013–.010). The band’s main tuning is an octave tuning that consists of A–A–D–G–B–E.
Featured on Robot Graves Industries' official "About" page.
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