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About curtisa

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  1. Depends. If the gaps correspond to frets that are introducing buzz you can either attempt to reseat them by pressing or hammering, or re-levelling to reduce their height. If the frets with gaps do not align with high frets then I'd leave them as-is, and deal with the others separately. If they're loose in the slot (you can close the gap just by applying hand pressure) or the gap is getting bigger over time, you're going to have to re-seat the frets and get them to stay put somehow. Maybe wick some CA into the fretslot and clamp, or remove the old frets and install new ones with a wider tang. Levelling high frets is usually a bit more involved than simply sanding down by hand. To get decent results usually requires sanding/filing against some kind of flat reference surface, recrowning and polishing, which will inevitably mean that several (possibly all) frets either side of the levelled frets will need re-finishing too. On a cheap guitar it could be a good excuse to learn how it's done without fear of making a mess of an expensive instrument? Lots of sites describing the process out there. It may also be worth checking if the setup is a bit off too, as fret buzz can be introduced by poor adjustment of several parameters. Maybe the neck doesn't have enough relief (too straight or backbow), or the action is too low?
  2. Don't forget to allow for the fretboard extension after the 24th fret (say 8mm or so). If you place the pickup 3mm past the 24th fret slot you'll have no fretboard to install the fret into. Have a look at this. RestorationADs old posts are a goldmine of information. The 9th post down the page illustrates how best to position the bridge to allow for correct intonation. The method he uses even points to measuring "...the scale to the most forward point on the bridge saddles" (emphasis mine): There was another post of his that I can't locate now, but I recall him saying that you will almost never intonate a string on a freshly-installed bridge by moving the saddle towards the nut. The scale length always wants to be increased, hence his preference for positioning the bridge with the saddles all the way forward to allow for maximum adjustment backwards on each string once strung up. This has been my experience also. Edit: CJ beat me to it. But yes, establish the correct scale length with the saddles as far forward as you can, and then individual intonation adjustments once strung up will be away from this point. If you only wind the saddles 75% the way forward and locate your bridge based off this, it's possible you'll run out of adjustment range on the lower wound strings because they can no longer go back far enough to correct intonation errors.
  3. Go to the first post in your thread and hit the "Edit" button in the lower-right corner. Should be able to change the post title from there.
  4. Any of the subforums under the "Tech Area" are good places to ask for technical help: Solidbody Guitar and Bass Chat Acoustic and Hollowbody Guitar Chat Inlays and Finishing Chat Electronics Chat Tools and Shop Chat
  5. If you anticipate that you'll use this thread to post your progress on your build, then yes, we can leave it as-is. If you'd rather use this thread to discuss the technicalities of how to do something (as we have been doing so far), then there are other areas of the forum that will better serve, if only to keep things looking neat and tidy on the forum. Entirely up to you.
  6. We can move this thread to somewhere more appropriate if you like, say the Solid Body and Bass Chat area.
  7. Remind me when I next want to build a guitar that I do not, in fact, want to build a guitar
  8. That's the stuff I use on necks. And yes, it's a polyurethane wiping varnish. It goes on satin, but if you build it up over 8+ coats it becomes semi-gloss, which I quite like the feel of. Kinda like a satin finished neck that's been played in for a few years. It is quite yellowing though, so it would've been a definite nono over the swirl. The blues and blacks might have survived, but the whites would've gone cream, which is not what I was aiming for. Unlike what happened to it when I cleared it. That was totally what I was aiming for
  9. That's how I do it. Clamp the two pieces together face to face, so that you're sanding both edges simultaneously. You should be able to get a perfect join with a bit of patience.
  10. Brothers in arms, it would seem
  11. I'm willing to bet it's the softening/shrinking of the swirling paints. Like I said, the white swirls on the original are where the swirling paints left gaps to reveal the undercoat, and the white undercoat hasn't been affected by the clear. I think the clear was just too aggressive and simply peeled back the weaker layer of paint. Either way. it's getting stripped. First stage is to see if it's worth salvaging as a crackle swirl. If it doesn't look right (or I start getting sand-throughs) it'll all get stripped and a more basic finish will be going on its place. Not going to go through the hassle of swirling a fourth time. It's high time this instrument was finished.
  12. Not sure I want to go through that kind of hassle with the guitar at this stage. At the very least I'm going to have to sand it back to re-prime anyway, so it may be a good excuse to see how all the wrinkled high spots look after they've been leveled. But the swirl layer is incredibly thin, so the risk is that I can very easily sand through and make things worse. I've got other, simpler ideas that I'm willing to give a go before I admit defeat and start afresh with a new body.
  13. It's obviously some kind of incompatibility between the swirling paints and the precat clear I've shot over it. That was one coat, and it turned ugly fast. I was spraying the body, rotating it as I went to cover all surfaces, and by the time I'd swung the body back around 360 degrees it had already celophaned. 30 seconds or less must have elapsed between starting to spray and the wrinkling. Serves me bloody right for not testing it first. Where the white undercoat shows through the clear has adhered perfectly, it's just the coloured sections that are wrecked. After I'd calmed down a bit I tried shooting some more clear over some of my test pieces that were swirled with generic enamels and they behaved exactly the same.
  14. Don't worry, Scott, that's something that I've already thought of. I'd call it the "Crackle Splat" finish. I'd charge double just to help pay for the multiple scotches I'd need to consume to calm my nerves afterwards.
  15. ARRRRRRGHHHHHH! Excuse me while I go and pour myself several stiff drinks.