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ADFinlayson

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ADFinlayson last won the day on February 1

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  1. On my last acoustic, I had to plus and redrill before I got tuner holes right on the third time, I was absolutely livid with myself.
  2. You will be absolutely fine, my guitars only have about 7 or 8 mm under the neck tenon anyway with similar heel shape. While I don't cave the area under the neck pocket thinner like patrick eggle does, their bodies are quite a bit thicker than mine to begin with
  3. Hi Fabio, welcome to the forum. I am not an expert and I'm sure more experienced users will chime in. But when I did a build with a kahler trem not that long ago, I Got the neck and fretboard in place (I was doing a neck through) then I routed my trem cavity so that the strings would sit correctly relative to the fretboard. I don't see the principle being any different for a set neck or bolt on guitar. So I would suggest routing your neck pocket so it is correct for your neck, then route your cavities for your trem. You could route the cavity for your trem block first, place the bridge where it should be, then use a straight edge from the neck to the bridge to determine how deep you need to route the trem recess cavity.
  4. the pickup routes will be much closer together on a 24 fret body, also if it's a 22 fret body and you've got a 24 fret neck, the correct location for the bridge will be in the bridge pickup route.
  5. I don't have the stewmac callipers, just some regular digital ones from my local store. I use them for measuring the really precise things like bridge holes, tuner locations etc. So always zero the callipers every time I measure anything. I do also use them to measure crown height with the tail so the little cut-out stewmac do is unnecessary IMO.
  6. You want the neck pickup to be on the same plane as the fretboard, so the angle part of the top should go at least as far as that. I tent to go a bit further and smooth the transition out between the two pickups. Unrelated, but that inlay work is awesome!
  7. No of course, the real solution is to get a spray gun.
  8. Yes I have. cellulose flashes off very quickly when it's been atomised in a spray gun, but when it's still in liquid form it takes considerable longer, yes you don't want to hang around and get it on and not keep going over, it's no different to applying poly with a brush like @Andyjr1515 does.
  9. Andy has the issue exactly right, it's called ghosting or witness lines which occurs with poly. Once you are happy that the paint is flat, do a last thin coat, maybe 2 if needed, then buff that. Typically with cellulose (nitro) you would spray many thin coats, 12-15 is what I normally do, but with poly you tend to spray just a few much thicker coats so when you come to level sand you never go through the coat you've just sprayed. The trouble with wipe on poly is that it's very hard to put on a thick coat with a rag or brush and have it go on level enough to not require a load of level sanding, so it gets applied in lots of thin coats like you would with cellulose but without the benefit of having the coats melt into one homogeneous layer. FYI you can thin and brush on cellulose and have the benefit of the coats melting into each other.
  10. I have made about 30 guitars with a break angle and a wraparound bridge and never once increased scale length to compensate for the angle. Re stud hole position - place the studs on the bridge and look at the bridge and the centre of the studs relative to where the top E string will finish, if the centre of the stud is level with the scale line, then the stud hole goes on the scale line. But on quite a few bridges the studs have to go further back (I just eyeball it). But a good example is the Schaller signum bridge, the studs sit about 5mm behind the scale line. On a Golden age bridge, the studs sit on the scale line. See if you can find a spec drawing for the bridge you have and you will be able to tell. Unrelated but important: 1.5º may not be enough to give you good string action unless your fretboard sits pretty high off the body. You might want to consider tweaking your neck tenon so the angle is a bit steeper, I normally go between 2.5º - 3.5 for a typical wraparound bridge.
  11. Oh never mind! I really liked the grained blonde look
  12. Oh I have that same sampler pack and I've used up a few of the colours, I wasn't a big fan of the colours themselves though. I do really like their regular wood stain colours, like black mahogany brown etc. I use those to tint my lacquer for shaders and bursts. So the white mahogany stain you did, that was with calligraphy ink?
  13. @Andyjr1515 that white mahogany stain job is lovely, what was the stain you used to achieve that?
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