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avengers63

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Everything posted by avengers63

  1. 40 We didn't have the goth wanna-be posers, but we had dorks just like them. Same problem, different packaging.
  2. reminds me of one of the many posers who got their a$$ kicked every day by the hoods in my HS a little too desperate for attention
  3. On a completely different note..... verhoevenc - what is that thing you're using as your avatar?
  4. .......and being a condescending pr1ck about it isn't going to endear you to anyone either. Push people away and nobody is going to want to help you when you actually have an issue.
  5. Musiclogic.... we really don't care about this conversation because we've all had it about 50 times this year already. Do a look through this section and you're sure to come up with a thread without trying hard at all. Now back to the argument. But that wasn't a full 5 minute argument just now!
  6. All I can say to that one is that I posted the request for help last Saturday. I'd love to have had ten different suggestions on how to handle this one. You can see for yourself who has chimed in and with what advice. I can't make someone help out - all I can do is ask.
  7. I got some chemical stripper and tested it on some scrap binding. It didn't melt the plastic. It didn't soften the plastic. It ATE the plastic. OK.... so I guess I'm down to scraping away the top layers of poly and bathing the underlying shellac with alcohol. From there I suppose I'll try and paint on some shellac very carefully, trying to avoid slopping it onto the frets.
  8. This makes me want to make a LPjr double-cut myself. I dis-assembled the walnut LPjr I did last year, so I have everything there already. Of course, I'd want to do mine in TV yellow....
  9. Granted, I wasn't able to get to the Gibson, but the Epiphones and Ibanez (at least I think it was an Ibanez) thin models weren't kerfed. The thick Ibanez, Gretsch, and one other were all "normal". FWIW: The dude there was looking at me like I had 3 heads when I told him want I was doing. I don't think he knows what kerfing is.
  10. I was at Guitar Center this afternoon looking at semi-acoustics. More specifically, I was looking inside some semis. I noticed that the bull-bodied models are kerfed like an acoustic while the thinner 335-ish ones aren't. This was across the board, regardless of the manufacturer. Can someone please give me some insight as to why this is? I would have thought that it'd need to be kerfed regardless of how tall/wise the sides are because the kerfing is there to give extra gluing surface. Why would it be necessary on the thick models but not the thin ones? The top/sides are still pretty thin and needing (presumably) the same gluing surface.
  11. Gretsch acoustics are hard to come by, but they're pretty good. IDK id they fall into your budget though. Ovations might be in there for you. The bad thing with them is they sound a lot better plugged in than straight acoustic.
  12. Zisser, and yes it was. No reason I can legitimize. moar halp pleez
  13. What I think happened: Because of the cocobobo in the inlays, I sealed the f/b with a number of coats of shellac first. I leveled it out, then coated it with poly. 1) I think the poly was way thin after it was buffed out. 2) I think the shellac wasn't fully cured when the poly went on, then the poly sealed it in and didn't allow it to continue curing. I think the combination of the two made it really soft and unstable. The fret job took most of a day to do because of the binding. Still, it's not the re-fret that I'm wanting to avoid, it's the inability to clean out the slots well. Re-binding as well would certainly take care of that, but then there's the added difficulty with where it meets the headstock binding. (gripe, gripe, gripe!) holding out for a bunch of input......
  14. I know it looks on the pink side, but believe me - it's metallic purple. All it took was another couple of coats of paint and it all evened out nicely. I'm brushing on 5 coats of water-based poly, then letting it cure for a couple of weeks.
  15. HELP!!!!! When I glued in the neck, the finish on the lower frets spooged around. Last night, when I took off the blue tape protecting the fretboard from the other finish, I found that a lot of the rest of the fretboard had bubbled, cracked, and come loose. In no way do I want to pull the frets and completely re-finish. With the binding, I don't believe I'd ever be able to clean out the slots well enough to re-fret anyway. So what can I do?
  16. I buy my truss rods from Bitterroot. They've worked well so far, and at a decent price.
  17. FYI: I've stolen this image and saved in onto my hard drive in the "inspiration" folder. Very nice indeed, sir.
  18. ADDITIONAL POINT!!!!!! When it comes time to mark the pocket for routing, have the nut taped in place as well. When you're testing the placement, tape 2 pieces of string in the saddles of the E strings on the bridge. Run them to the nut. The strings simulate the read guitar strings. Use these to check for string alignment & straightness along the fretboard. Even if the neck pocket on the kit is routed for a set neck and the bridge placement is drilled, double check it like this. Do this when it's time to glue the neck into place too. You can't be too careful. Once the glue is dry, you're stuck, ESPECIALLY if the bridge has been drilled already.
  19. I agree: for the end result it is virtually the same. The construction is so radically different that they can't be considered the same though. That's why we differentiate with the terms "chambered" vs. "semi-acoustic". Like I said - I want to learn the acoustic-making process so that I can make the bill blown archtop so that I can make semi-acoustics. I feel that I need to understand one before I can do a good job on the next. Think of it in solid-body electric terms: it's easier to do a bolt-on dirst, then a set, then a neck-through. The bodies should be 2-3 piece slabs at first, then getting a top, then chambered/carved/etc. It's all just going through the steps and learning curves.
  20. I'm sure I could. The main reason I don't want to is because I don't want to buy the reaming tool for the end pins. I doubt I'll be making enough acoustics to warrant the purchase. Really, the only reason I'm wanting to make an acoustic at all is so that I can learn the process and then make an archtop. That will lead to 335-ish semi-acoustics. Neither needs an acoustic-style bridge.
  21. and the chant starts in the background... Spam spam spam spam Spam spam spam spam
  22. Maggot: I'd trust AllParts quality. Kinda hoping for ebony (picky git that I am!). Jaycee: I don't want to try and make the bridge on the first acoustic. There's a pretty big learning curve as-is. That "extra holes" idea is worth investigating. Yes, I have been all over eBay. The only ones regularly available are from a seller who only sells low-end stuff. However... the mod suggestion opens up a lot more possibilities.
  23. Where can I get a well made acoustic 12-string bridge? Allied Lutherie, LMII, and Stew-Mac don't carry them.
  24. 'Bout damn time these bodies see the light of day.
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