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Scarf Joint

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Before anyones says something: yes, I have searched and read everything I've found, but what i need to know is this:

I was looking at the drawing on this page (its a few posts from the bottom). Now, if I were to do my scarf cut this way ,wehn I glued it back on, the glued-on piece would only be about the size of half the headstock, correct? Is this strong enough? It seems to me (and my untrained mind) that this would be weaker than the other method of scarfing.

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That has been a proven way to do a scarf joint. I *believe* Gibson uses (or used) that method. However, It would not be my personal method. If you are wary about it, use the method on the second page of that thread (that is the method I used on my bass).

As long as the glue joints are good enough, either method would suffice.

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I used to do it the other way, these days I do it this way. My reason: I can hide the joint entirely with a headstock face and back veneer. Structurally, they're both more than strong enough. Gluing surface area's probably about the same (remember you carve a lot of it away if you do it the other way), and, added advantage (although it's a slight case of paranoia, IMO), the veneers and location can help prevent any chance of the joint 'slippin' over time; titebond joints ARE plastic, and they CAN creep.

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If you do the way that he has now chosen to do (as I can see my PRS was done) is that joint REALLY strong enough? with the whole tension of the strings pulling on it etc.? I guess they do say A Titebond joint is actually stronger than just the wood... but it still just kinda scares me like that.

Ok, a question: Why do some people put those little lumps in their necks kinda under the nut position/before the headstock begins, on the back? Like here: anck4.jpg

Just to have like a way for your hand to feel when you're at the end? Or is there a structural purpose I should know about?


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..... those little lumps....

Breasts. :D

Oeps!..... :D

Meant volute of course.

The theory behind the volute is that it feels nice when you hand goes over it.......oh! wait.....now I'm confused again. B)

The theory behind the volute is that the top of the neck area....specially with thin Ibanez type Wizzard necks......is a very structurally weak area. This is thinest part of the neck and with trussrod channel going through neck, in addition to two top locknut screws.....this is area prone to cracking. If you really have good look at area.....there isn't a lot of wood supporting and countering the string tension.

Older type Ibanez guitars are very sensitive to a top lock nut crack. When crack appeared with bit of glue and some sand paper the guitar could be made playable again....but still it was an issue. So to give neck in this sensitive area a bit more mass.......designers developed the volute.

Some players like it, some hate it.

I have learned playing on thin necked Ibanez guitar with a volute, and to me this feels rather natural. Playing guitar with out volute feels naked......

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