jammy

Definitely do-able. You should really leave the piece over-length as making a bend in the middle of a longer piece of wood is much easier than in the end of a short one.

http://www.stewmac.com/shop/Tools/Clamps,_...epair_Jack.html

Something along those lines.

I have my friend with a CNC radius and slot them

LMI is the way to go, call 'em up, I'm sure they'd be happy to help.

I've placed orders from a few suppliers last week - LMI's stuff "out for delivery" to me according to FEDEX, and has come all the was from the West coast of the US. The stuff I ordered from David Dyke here in the UK hasn't even been sent yet! Go figure

I'd be worried about getting glue right in to that crack to glue it up with it being so tiny. Still, if you think you can get enough glue deep in to it and if it pulls up nice and tight with clamp pressure (could be tricky!) it could be worth a shot.

Cam clamps lying on their side on the top of the instrument may work for clamping it up. Making a curved caul for the back of the bridge so could can apply pressure in the right places will be a good idea.

For the fanned fret I've done I "twisted" the headstock to bring the break point at the nut round to the angle required, makes for a neater look IMO.

Does the crack pull closed easily, with little force? If it does, there's a chance you could get away with glueing it up on the instrument. If not I really would recommend taking the bridge off and replacing it.

Can you post some pictures?

As for the neck angle: it's a re-shim job on Taylors, nice and easy

The place you have to add length for a job like that is behind the nut.

Buy a bolt on construction bass and make a 28" (or as close as you can) scale neck for it by, in effect, adding frets behind the nut.

Depends on what has caused the crack, and how bad it is.

Have a good look around inside for any wear around the string holes on the bridgeplate. Sometimes, excessive wear round there can weaken the area and cause this problem. If that's the case, a patch up repair on the bridgeplate and either a replacement/glue up of the bridge could be the answer.

I wouldn't really like to tack a crack like that with the bridge on the instrument though, ideally remove the bridge and have a good look over it. Salvage if you can, replace if not.

That board looks great!

How did you stop it running off the sides? Or did you allow that and scrape off afterwards?

Radius before tapering...That's the way to do it!

It's not so much the routing of the channel I'm worried about, it's getting the binding to do those 3D bends required to keep all the joints tight round the contour.

I think if I was using wood bindings I would defiantly have to scarf joint them and the on/off transitions of the contour, but then I'd still have problems round the corner itself.

I'm wondering where a chambered guitar ends and a semi-hollow begins.

To me, a semi is built more along the lines of an acoustic or an archtop, that is, the sides are bent, and the top and back are glued onto that. Which is part of what gives the guitar its sound.

On the other hand, a lot of Rickenbackers seem to be built like this, where the two halves are just hollowed out blanks. So are they still considered semis?

I'd have to say a on a chambered the holes in the body have no air exposure (f holes)

Semi hollow could mean the guitar is built with either bent sides or like the one in this thread, provided the airspace inside is exposed to air.

But that's just me

http://www.vibramate.com/

and

http://www.bigsbyguitars.com/products_b5.html

perhaps?

Do you have a link where I can see a picture of it?

Here's link with a pic, but it's not a great pic:

http://store.guitarfetish.com/flroflotrsy.html

They claim it's "solid machined steel" and that appears to be true. It actually seems to be well built so it'd be nice to try it.

Bert

Looks like you probably could, yeah. Check around the trem arm holder though, make sure you leave enough material round there for it to be good and strong.

Difficult to say without seeing the trem itself really...Depends on it's construction. Do you have a link where I can see a picture of it?

In theory though, I can't see why it would be a problem, provided the required 2mm doesn't encroach on the workings of the trem itself. Won't look pretty though, as you said!

I have enough trouble binding over 15ft radius arches on my acoustics!

What's the/your technique for binding round the forearm contour of an electric?

first thing that popped in to my head...

Excellent work that one Daniel, it really is.

Congrats on the GOTM too!

It was just one of a few thoughts I've got for the instrument.

Might just tell him it'll have to be a total re-fin. It's a nice bit a swamp ash too, so I'm sure we could come up with something nice

It's an old bass with a manufacturer-recognized problem with the lacquer. It's deteriorated with age and gone sticky. Apparently it was a certain batch or something...

I'll take a closer look when I can

I'm looking for some advice from someone a little more experienced with stained woods than I am. I need to remove the lacquer from an instrument, while attempting to leave the burst stain interacted underneath. What do you reckon my chances are? And if I have a chance, what methods would be kindest to the stain underneath?

If I do end up having to remove the stain too, is there any way to predict how deep it's run? And what's the best method for that task?

Thanks chaps

A friend want to re-finish his old Music man bass as the finish on there at the moment has become sticky (apparently a known problem with this year of manufacture), but doesn't want to spend too much money.

I was looking for suggestions on easy, quick to apply, good looking finishes for swamp ash. Hand-rubbed stains/oils would suit, I think.

Any suggestions chaps? What's your favorite method for finishing swampash?

What did you use for your colour coat?

I'm really interested in your neck joint mate, as I've been doing some drawings for a strat style pocket with angle adjustment myself recently.

What are your plans?