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NotYou

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Everything posted by NotYou

  1. Congrats on everything! I bet deciding you needed to rank things up was a good feeling. Nothing like evidence of progress. That's a big space too! I used to have 300sf and didn't know what to do with all of it. I'm at 250sf right now and it's comfortable. Granted, I'm just one person (and that's not changing) with only so much stuff and I'm certainly not teaching anybody, let alone five people. That must be exciting. You seem to be doing something right. Keep it up!
  2. Consider one of these too. Tried one once and it worked surprisingly well. Not sure it's what you need, but a $10 wrench is a lot cheaper than a new neck. http://www.stewmac.com/shop/Truss_rods/Wrenches,_hex_keys/Gripper_Truss_Rod_Wrenches.html
  3. Photos, for sure. I had that problem with a welded on adjustment nut before and couldn't find a reasonable way to fix it. I used a Dremel and cut a slot into the end of it, so I could use a flathead screwdriver. Worked perfectly. That was on a personal guitar I won't sell, so I was okay with an odd fix like that. It's not exactly a professional way of going about it. At all. I used a diamond coated needle bit (you can find whole sets for surprisingly cheap), so I could push the bit perpendicular to the nut. For other styles, StewMac sells kits to remove and replace the nuts. I've never tried them, though. Edit: This the (very expensive) kit I was talking about. It works with the threaded rods Swed mentions bellow. http://www.stewmac.com/shop/Truss_rods/Special_tools_for:_Truss_rods/Truss_Rod_Rescue_Kit.html?tab=Details
  4. Yeah, I gave up on that design a while back. I'm back to all clear finishes and natural looks. I still use the knobs and recess them, but not with that sleek look.
  5. Most people haven't, it seems. Most parts I buy on there are 50-70% off retail. It's pretty amazing. They also have a lot of parts I've never seen before. They have a couple styles of knurled brass knobs that I'm love with. I've been using them quite a bit lately: They have long shafts that are more narrow than the top, so they're perfect for sinking into the body almost invisibly. I stripped, distressed, and aged these, but this is (was?) the other type of brass knob. Smaller with a flat top: Anyhow, that's nothing important. I'm just always excited to find new stuff I've never seen before and they have plenty of that.
  6. I'd vote for larger bushings as well. I've come across this problem a few times, usually when doing alterations for people. Plugging the holes can give surprisingly crappy results. No matter how well it's done, there is a great chance for it to muddy up your tone. I didn't believe it at first, but I've experienced it first hand. In theory, making plugs with horizontal grain (probably on a lathe), as opposed to dowels, then lining the grain up with the body grain should help the problem. YMMV. In contrast to that, it always seemed like a bad idea to glue them in to me, but I've had amazing results that way. If I do that, I like to attach strings and tighten them just a little right after applying the glue. That way it sets in the right position and won't shift or come undone when you string it up. It still* seems* like a bad idea to me, but it really works and won't kill your tone. But, like Swed said, it can make future repairs and alterations a pain. And like Swed also said, we could go around and around about the tonal effects. My experiences are just my experiences. Others could have done the exact same things with opposite results. So, back to my first comment, larger bushings are the way I'd go if possible. I like to go for larger ones in general, even without this issue, so it's win/win in my opinion. WDMusic is a good source for parts like that. WDBiz.com is their wholesale/discounted store. You need to be in business (retail, manufacturer, or repairs) to get an account, but you might be able to with some clever wording. Then you can get all those kinds of parts ridiculously cheap.
  7. Thanks for the input. I think we're going ahead with the whole thing. For now, she'll just get a cut of what she sells and if anything is made from trade shows or events, so no big loss if it doesn't work out. I'm pretty confident it will, though. I know it sounds iffy doing this with somebody who has no experience in this business outside of living with me, but this is one person I've learned to not underestimate. Also, she's an extremely talented musician and crazy hot, which will help a ton with customers, and she has the right badass attitude and loads of passion. I think she's going to be amazing at it. She's not going to manage my schedule or anything like that. I have no doubt she's going to be kicking my ass to be productive, but her job is going to be dealing with customers, selling the guitars, organizing shows and events, and general marketing. Every aspect of the guitar work will be entirely on me. I contacted a guy a few days ago about helping me wire, fret, and setup guitars as needed, but he hasn't responded. I never wanted outside help like that, but I spend a significant amount of time on that stuff and paying somebody else could really speed things up and pay off quickly. I'm in business because my of talents regarding designing, building, etc, etc, so getting somebody to do that straight forward work isn't a comprise, in my opinion.
  8. Well, somebody had to make a thread here eventually. I'm wondering how the rest of you handle the representation issue or at least how you view it. There have been builders -albeit not many- who never get represented by anybody and do great. Personally, I couldn't do that. I know my strengths and weaknesses and I need somebody else to handle that part of things. I'm curious in general how you all deal with trying to gain exposure. I bet some don't even bother. Some guys probably do it on their own and are successful. This is a young industry and there isn't a whole lot of talk on the subject. That's the real topic. This post isn't about my issue. Anything below this sentence is basically my response to my question (and a request for opinions about it). It ended up way longer than expected. --------------------------------------- Here's my issue: I've been with Destroy All Guitars for a few years now and they've been great to me. I haven't even looked around at other dealers or anything like that because I haven't seen a reason too. Recently, I've been thinking of finding new ways to handle business. Things have been a little stagnant, but no part of me believes it needs to be. Cliff at DAG is dealing with an impossible amount of crap. I won't go into detail here, but he is one tough sonofabitch. They're still fantastic, but I can't help but feel I could get more accurately represented by somebody who isn't dealing with as much in their personal life. That doesn't mean I'd leave them, I'd just branch out. I'm actually very loyal to them and thankful for them. I'll stick with DAG until one of us goes under or they give me the boot for some reason. I've always viewed Cliff as an agent and that's how he describes himself too. He only gets paid when sells something, there's no formal contract between us, he handles a great deal of the logistics, emailing, etc, etc. It's the same thing an agent would do for a writer or any kind of artist. Here's what I'm getting at: My roommate wants to represent me. She has no reputation or experience in the boutique guitar world of any kind (except for being my friend), but I honestly think that could be benificial in this case. She has an amazing talent for networking, finding people, impressing people, and generally getting people to admire and listen to her. I honestly think she'd do a truly amazing job. Her lack of experience in this industry should actually result in an agent who is more passionate about representing my work, as opposed to dealing with many builders and spreading it out. She's also a legitimately great guitarist and she's crazy hot. Let's be honest, that's going to give her a huge advantage. Also: Tonight I had the idea of making her my manager. That's something I've never seen a builder do, but I'm loving the idea so far. I'm terrible with all that crap. I never do trade shows or events or anything because I just want to build. She would handle all that stuff and I'd give her a cut of what I make overall. It would cost me money (percentage, no wages), but I'd go from zero trade shows (or ANYTHING) to all sorts of benificial things without having to do all that stuff I hate. And, again, I think she'd be amazing at it and she really wants to do it. So, I'm curious what others think about that, especially the manager thing. This is basically a new industry and there really is no best way of doing things. Like I said, I'm terrible with that stuff. I do best when I can be creative and work my skills while letting somebody else handle that part. I think it could really kick start this thing.
  9. Very good idea. That's perfect for this forum. I know quite a few builders who reference this site all the time and a lot of guys just starting who are trying to figure the business out. This place has been priceless to me when I was learning and I still learn a lot from it. I would have loved to have had that section a few years ago. I get contacted by a lot of guys wanting to get into the business with questions about how to do it right. There really isn't a right way and my way only works if you do everything else just like I do. A section with a lot of opinions and experiences should be a great thing. I also wrote a long post directly related to this topic, but accidentally erased it. I might write again later.
  10. I told you this before on Facebook at some point, but it always seems like a shame you're not in business full time building guitars. That's not because I think you should absolutely have that job, but because your work needs recognized. I'm normally very critical of other's work, but I keep all comments to myself. I would NEVER say anything bad about another builder and I even keep the compliments to a minimum on purpose (As a luthier, I don't think my opinion about a luthier should matter. Ever.). That said, you are ridiculously talented. Not many people can build guitars in general and very, very, very few have the talent to do it well. It takes such a mixture of talents, some of them quite unique, to make a great instrument that it's an extremely rare thing. Even if somebody has the ears and the patience and all that, they need to WANT to make them. You're one of the very few who I think has all the right talent and you clearly enjoy making them. Don't get me wrong, I'm not saying you *should* go into business. It's a very effective way to start despising what you love. Building everyday for a living is fantastic, but customers have a way of stomping your soul into the ground...or maybe that's just me. My point is...I don't know what my point is. You have a lot of talent and deserve to get it seen... I really have no good advice or follow up.
  11. I just fixed a friend's guitar after the headstock broke off. It looked exactly like that. It could just be a scratch, but, in my experience, when a headstock breaks off or starts breaking off, the fracture tends to be about where that crack is. (after zooming in, it doesn't quite have the right look for a fracture. Hard to tell, though) It could also be a line from a repair. Sometimes when they break off, the finish chips away a little and leaves a visible line like that. But, it could just be a scratch. Thumb rings were hot sh*t for a bit in the 90s.
  12. Absolutely. A lot of artist stereotypes are very true and I'm guilty of many of them. He really seems to understand that and has been very accommodating. Most people don't get artists and would have given up on people like me and my brand of shenanigans. Creative people tend to think in unusual ways in just about every aspect and he seems to understand that. If we're honest, trying to build guitars for a living is a pretty eccentric venture. You can't reasonably expect all of us to be normal, standup citizens, especially those of us who are artists. He's lucky I only light my guitars on fire sometimes.
  13. Everything is up to Cliff. He acts as an agent for the builders and everybody else is there for finances, etc.. I'm pretty sure everybody involved is family, actually. I've gotten to know his wife a little and am Facebook friends with her and their son and both of them are involved. Anyhow, he does have set criteria. He just takes on builders he sees potential in. He used to be a very successful producer (he discovered Vai and Satriani) and knows to just trust his gut. That's how he explained it to me, at least. He also likes to find builders who are trying to establish a name. That way the builder grows with DAG, which prevents a stagnant business relationship and helps long term. Right after he took me on (I had established no reputation at that point) he told me he turned down Monteleone. That guy is a f***ing legend! (I won't lie, my ego hit an all time high at that moment). But, he's already very well established and pretty old. Cliff was afraid he'd sell his guitars for a few years, then he'd retire and that'd be that. Even though he likely could have made a lot of money from him, he wasn't interested. I found that amazing. He contacted me first. I'm pretty sure that's how he normally does it. My goal when I first began building for money was to get onto DAG sometime within the next 10 years. He contacted me when I was just a few months into it. When I saw the email in my inbox I about crapped my pants. That's just me, though. It's not like being on DAG is guaranteed success or anything, but it was a big goal of mine and I was very inspired by those builders and the whole concept of DAG. At that point in my career I was more flattered than anything. If you're around he'll know about you. I've known guys who contacted him and I thought they were perfect for DAG, but I never heard from them again. He's not just looking for great builders. If it doesn't feel right to him, he won't go for it. He also tends to take on just one builder for each "type" of guitar. For instance, he told me once he was looking his Tele guy, but there are countless Tele builders out there. The guys like me, who build more "artsy" and strictly one-off instruments, are all very different from each other. Org and I get compared a lot (at least I get that) because we both lean toward the rustic side, but our work and approach is still very different. None of our instruments resemble the other person's at all. Keep in mind, I can't speak for Cliff. I'm just explaining my experience and what he's told me. What it actually takes to get on DAG could be different in his mind. Honestly, even with what he's explained to me, I'm still not sure. Just be unique, show your skill, and hope for the best.
  14. I bet you have. When you and I first got on DAG I constantly got comments from people comparing us, since we seem to be the two utilizing that "style". Honestly, my guitars just end up however they do because that's how I feel that particular one should look. I've never tried for a style, but, for better or worse, that beat up look is definitely what I became known for. As far as business goes, it's great. There is very little to compete with in that niche, so most guitars sell immediately. If not for you, I could probably charge whatever I wanted. Anyhow, I agree about using a third party. DAG is my only dealer at the moment, because I want to keep things simple (I had two at one point and it somehow confused the hell out of people) and I try to have them handle all the customers. It's always simpler for me and with custom builds it's 1000x easier. Unlike me, Cliff is good at keeping the custom process very simple for people. I occasionally get a person who refuses to deal with anybody but me and I hate that. Even though I don't lose out on their commission, it requires me to deal with all the customer stuff and logistics, which, except for rare customers, I hate doing. Also, I would have been out of business a long time ago if not for Cliff, so I feel bad not going through them. They're the main way people find me, without question.
  15. Thanks! I wish I could have gotten all the insects holes and all that in the photos, but I had to rush. It was like a ten minute shoot, then I immediately had to toss it in a box and ship it. The black area in the back has a few small spots where the wood is opened up somehow. Even the binding has burrow holes through it.
  16. Thank you! Scott, I had a little ironwood left. It's all gone now, though. There a strip of it going through the middle of the neck, about 1" thick. You can't see it unless you're up close, but it makes a huge difference in the tone. Hopefully I'll be able to track some more of that down somehow.
  17. Thank you! Black walnut is my favorite wood for guitars, especially for necks. Highly underrated, in my opinion. It has all the good tonal qualities of maple, but without the intense high end. It also has a unique timbre. Most woods are described as "woody" or "bell-like", but black walnut somehow seems to be both. It has plenty of that bell-like power, but still sounds very organic and woody. It's also one of the easiest woods to work with. The only real downside is the toxicity. The dust causes my eyelids to swell and it's hell on you mucus membranes and lungs. It's a little on the heavy side too, but that doesn't bother me, personally.
  18. Well, I didn't exactly post any more progress here. Even the original photo links are broken now, it seems (I'll see if I can fix that in a minute). But, it's done. I submitted it for GOTM. Here's my post: "Grendel" I bought this top wood a couple years ago and set it aside for a time when I felt the right inspiration for it. The wood knots act as f-holes would. I stabilized them in a few different ways, most notably by saturating the cracks with thin CA. I was afraid of them spreading, but they're not going anywhere. After two years of being on a shelf and moving to three new studios, they haven't budged. There are tons of little details throughout the neck and body that aren't in the photos. On the side is a large gap (insect damage, I assume) that I coated with copper dust and gave a deep patina to (sort of a geode look). Some of that copper mesh sits in place of the binding near the neck, as well as pieces of bone in various areas of the binding. There are also a lot of insect holes and subtle rustic details I couldn't get in photos. Even the fretboard has a faint green tinge around the frets to give the impression of old age. Instead of one big control cavity, I made a separate, small cavity for each pot and the jack. It took a lot more work, but I think it looks much nicer and interesting than a big cavity would have. The hardware took quite a bit of effort to pull off, especially the bridge. It's well known among metal finishers that aluminum is practically impervious to oxidation and any type of aging or patina. I really wanted to use that bridge, so I put on my wizard hat and my chemist's pants and eventually - after many experiments with various chemicals, processes, and blow torches - managed that aged look and the patina. The mesh parts are blackened copper. It sounds beautiful and very appropriate for the aesthetic style. The semi-hollow qualities really shine through, but it still has plenty of punch and even a bit of twang when unplugged. Overall, it has a pretty broad high/low range and a mean woody character. I think it's ideal for the type of dirty blues I meant it for. The neck is very large, which is my preference. It's more comfortable when playing for long periods and just feels "right" to me. Honestly, I was concerned when the person who bought it was a woman, because I made it for large hands. But, I had my petite 5'2" roommate try it out and she loved how it felt. Anyhow, here she is. My guitars often cause love-or-hate reactions (which is totally okay with me) and I'm always curious to see which way it goes. Some specs: Top: spalted maple Body: wormy maple, wormy black walnut - semi-hollow Neck: goncalo alves, ironwood - thick C shape Fretboard: goncalo alves Scale length: 24.75" Fret: 22 - nickel - reliced Pickups: handwound PAF style humbuckers - copper mesh covers Controls: blend pickups, master volume, master tone (all hardware is heavily distressed and aged/blackened) Bridge: wraparound - aluminum Tuners: Grover Sta-tites - nickel Knobs: brass Nut: bone
  19. "Grendel" I bought this top wood a couple years ago and set it aside for a time when I felt the right inspiration for it. The wood knots act as f-holes would. I stabilized them in a few different ways, most notably by saturating the cracks with thin CA. I was afraid of them spreading, but they're not going anywhere. After two years of being on a shelf and moving to three new studios, they haven't budged. There are tons of little details throughout the neck and body that aren't in the photos. On the side is a large gap (insect damage, I assume) that I coated with copper dust and gave a deep patina to (sort of a geode look). Some of that copper mesh sits in place of the binding near the neck, as well as pieces of bone in various areas of the binding. There are also a lot of insect holes and subtle rustic details I couldn't get in photos. Even the fretboard has a faint green tinge around the frets to give the impression of old age. Instead of one big control cavity, I made a separate, small cavity for each pot and the jack. It took a lot more work, but I think it looks much nicer and interesting than a big cavity would have. The hardware took quite a bit of effort to pull off, especially the bridge. It's well known among metal finishers that aluminum is practically impervious to oxidation and any type of aging or patina. I really wanted to use that bridge, so I put on my wizard hat and my chemist's pants and eventually - after many experiments with various chemicals, processes, and blow torches - managed that aged look and the patina. The mesh parts are blackened copper. It sounds beautiful and very appropriate for the aesthetic style. The semi-hollow qualities really shine through, but it still has plenty of punch and even a bit of twang when unplugged. Overall, it has a pretty broad high/low range and a mean woody character. I think it's ideal for the type of dirty blues I meant it for. The neck is very large, which is my preference. It's more comfortable when playing for long periods and just feels "right" to me. Honestly, I was concerned when the person who bought it was a woman, because I made it for large hands. But, I had my petite 5'2" roommate try it out and she loved how it felt. Anyhow, here she is. My guitars often cause love-or-hate reactions (which is totally okay with me) and I'm always curious to see which way it goes. Some specs: Top: spalted maple Body: wormy maple, wormy black walnut - semi-hollow Neck: goncalo alves, ironwood - thick C shape Fretboard: goncalo alves Scale length: 24.75" Fret: 22 - nickel - reliced Pickups: handwound PAF style humbuckers - copper mesh covers Controls: blend pickups, master volume, master tone (all hardware is heavily distressed and aged/blackened) Bridge: wraparound - aluminum Tuners: Grover Sta-tites - nickel Knobs: brass Nut: bone link to more pics https://www.facebook.com/media/set/?set=a.10151626960875138.1073741829.183692040137&type=1
  20. I agree with Prostheta. Titebond will hold cocobolo well, you just need to make sure to prep it properly. Denatured alcohol is usually pretty good for breaking down that oil. It can get a little messy, as rosewoods bleed quite a bit with alcohol, but it works. You also need to make sure you glue it shortly after the alcohol dries because the oil doesn't take long to start "coating" the wood again. I've heard some people say oily woods will eventually push the oil/waxy layer into the glue and cause it to come loose, but I've never experience that. If you think about it, it doesn't even make much sense. The oil isn't being pushed out, it just goes wherever it can naturally. If a solid wall of hardened glue is in it's way, it's just going to seep elsewhere.
  21. After I wrote that I ended up taking another order that I was afraid would end up being a custom. Like I said, my plan is to just make guitars as I want them made then sell them when they're done (or in progress). A guy saw a brief description of a guitar I plan to make on my website and wants it made. I put it there well over a year ago (need to update that site badly) and the description wasn't even an entire sentence. I wanted to make it then put it up for sale, but it was a lot of money to turn down and I was in a really tight spot financially. Also, he clearly wanted it pretty badly. Luckily, he doesn't want anything customized. He just wanted to grab it before anybody else could and let me make it how I see fit. I'll still need to keep to the quoted time frame, but it's very doable and he even said he's not concerned about the wait at all. So, it was a bit of a compromise to my plan, but not much. I can't complain about getting paid to "compromise" that much or I'd just be an arrogant turd. For the record, the guitar is a bit of a Gibson spoof, in a way. It's designed like an old Goldtop Les Paul, no specific year or anything, but it's going to be aged to a literally impossible (if it was a real Goldtop) degree. It's being dubbed "Oldtop". Instead of normal gold paint, I'm using metal paint that I can add various types of pantina to (mostly green and black). All the hardware will be vintage replica, but I'm going to dirty it up and age everything to match the corroded looking paint. It's not my intention to make a blasphemous guitar, I just think it'll look badass, but I have no doubt it's going to piss some people off. Why or how a design can get people angry enough to complain and even send me angry emails is beyond me, but it's happened before. This one will definitely set off some of the don't-stray-from-tradition, new-is-scary, missin'-the-good-ole-days, vintage-nuts who already don't like me... and I can't wait. This is a rough design "sketch" of it, if you're curious.
  22. RAD nailed it. All of those issues are why I decided to stop offering customs. My work always sells, but I would take custom orders because I needed money at the time or just felt like I should because it seems like that's what guitar builders just should do. But, they always end up being much more trouble than they're worth. When I make my own designs, I have a clear picture in my head of the entire thing and I can change it at will (I change my designs A LOT as I go), but with customs I have to take a particular person into consideration for every tiny detail. Not only does that take a lot more time, but the whole process becomes a chore. The joy of building is swapped out for stress and this job really starts feeling like just another crappy job. There are always problems too. My completion date estimates are always way off and that never goes over well. If I get injured, have to move the studio, come into financial problems, have serious personal problems (I will admit, breakups set me back more than a reasonable amount), or anything else, it causes the build to be late. That's not even including the normal, smaller issues that arise with building. It all adds up and always ends with a pissed off customer. I even had a guy report me to the BBB and threaten to sue because he suddenly felt the guitar was taking too long, even though it was still on schedule. Getting a quote for four months is fine, but actually waiting four months can send some people over the edge. The main reason is I can't stand dealing with the people any more. Most people have horrible taste. They see that I make rustic looking guitars and they think I'd just love to build their train wreck of an instrument they conjured up in their head. I love all of my own designs I've built, but I think every custom I've built is hidious. I honestly hate the fact that my name is on them. I even keep wanting to update my site, not only to add new work, but to remove the customs. Many customers also want their dream guitar built for a price that's far too low. Sometimes the guitar they want isn't even physically possible and it always takes a series of emails and phone calls to convince them, in the least offensive way possible, that it can't be done until the laws of physics and geometry change and they need to stop trying. I've had quite a few people, mostly early on, who would run me around designing a guitar for weeks on end - a process that includes countless emails, phone calls, sketches, mockups, and hours - to make sure they knew what they were getting before paying, then they just stop responding or run into money problems and cancel. That's many, many hours over weeks wasted for no money. Also, I'm really tired of explaining why using certain hardware, wood, or specs will not make them sound like Hendrix. I swear, it's always Hendrix. Sometimes they'll accept a quoted price, then start adding stuff later. Try to raise the price a hair and suddenly you're trying to rip them off. I have a guy right now who I gave a VERY low price to for a prototype build. The new model was supposed to start at about $2200 and I agreed on $1200 (it's better than paying for a prototype out of pocket). His hardware is now up to about $1000 (!) and that's after I refused to install certain things. If I let him have his way, I'd be paying more for his parts than he paid for the guitar. Everything he wants needs to be the absolute top of the line, highest priced part available. Also, after accepting the quote and paying he insisted on many, many changes to the point that the guitar is nothing like the model it's supposed to be a prototype for (I later decided against the model, so no big deal now). He even wanted the headstock altered, the knobs placed differently, a different body carve, the neck widened, a hidious trem that needs custom made (WHY!?) and is specific down to EVERY last detail, and I could go on and on. My options were to make it to his specs, or cancel it and refund the money, which I can't afford. I get constant messages from him discussing new hardware ideas (always more expensive and no better than the last one), new requests, personal problems explaining why this guitar is going to be his source of happiness, questions, etc, etc, etc. I painted myself into that corner, but it still counts. Basically, you can't get your dream guitar with every piece of hardware you ever wanted and a personal, subordinate guitar tech for $1200, but your customers will never believe that. My guitars normally sell within a week or two after completion. If I can just build them and avoid the stress, time consumption, and financial burden of custom builds, all while creating instruments I genuinely WANT to make and can be proud of, I see no reason not to. It took me that much space to describe what customs are like, but the whole non-custom process simply goes like this: 1) Build a guitar I put my own passions into and enjoy building 2) Sell it and get paid 3) Ship it wait for a happy response If I can spend my career doing that, it'd be a dream come true and I'd be one of the very few with a job that makes them happy and gets them excited. The crazy thing is I think I really can spend my career doing that. So, goodbye customs.
  23. Haha I've done it too. No worries. There have been a couple times where I built an entire guitar, then during the setup couldn't figure out why it was buzzing and pinching at high frets. I'd go crazy inspecting the frets and bridge, only to find everything was perfect. Eventually I'd find one of the humbuckers, which hadn't been adjusted yet, was angled a little and the strings were touching the cover. I'd go around and around for ridiculous amounts of time just to find that one obvious answer.
  24. If adjusting the bridge or loosening the truss rod dosn't work, you could file down and recrown those frets, if you feel like putting the work into it.
  25. I'm with kilemall. Waste that on necks and think we'll all punch you in the face.
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