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bachandroll

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  1. I absolutely know what you mean! I always affix weather stripping foam underneath the vibrato springs on any guitar I own, which eliminates the "spring reverb" effect that steals focus and clarity from the notes themselves. For the length of strings at the headstock behind the nut, I will cut velcro to the appropriate width, then attach two hook pieces to each other back to back using their adhesive sides. I then do the same with the felt pieces. I slide the hook strip under the strings, then velcro the felt strip to it. Non-permanent, lets the strings slide through freely, yet mutes the high pitched ringing left after stopping a chord. I hope this makes sense...BTW, the headstock looks fantastic! Cory
  2. not sanded to their maximum level of smoothness? I asked a question awhile back about why rosewood boards aren't finished in a glossy manner, and some responded they hate the way applied finishes feel on rosewood, that the wood itself feels better. Ok, I can understand the tone being affected by finishes, so some would have an aversion. I can also understand some enjoy smaller frets, so they like the tactile interaction between their fingertips, frets, and the wood itself. However, as an experiment tonight I tried sanding a piece of rosewood using my palm sander. moving up through various grades of paper. I eventually got the piece to be so smooth and naturally glossy even I, a lifelong devotee of ebony (though I do have several guitars with rosewood fretboards), could envision it as a viable alternative. The feel of a properly sanded piece of rosewood can be smooth enough and naturally glossy enough to take away one of the main reasons I like ebony and maple better. Now, I can consider just the tonal and aesthetic differences. My question is, why are most rosewood fretboards left so gritty in the way they feel? I have always thought, "Well, that's the way rosewood is naturally; with such an open pore wood that's what you get. If you want a different feel, get a different wood." Had I known rosewood could be this smooth and polished, I wouldn't have relegated it to the bottom of my preferences all these years. I'm irked looking at the instruments I do have with rosewood fretboards, knowing they could be much more enjoyable to me had the builder not left them in such an (pardon the pun) unfinished state. Although I have been a devoted professional player for many years, I am very new to building and know you folks who do this all the time MUST have an answer (or ten) to this seemingly simple question. I am looking forward to your responses! Thank you! Cory
  3. Hello, friends! I've been lurking for quite awhile, reading all your terrific posts while getting ready for a few projects of mine (more on them soon). My initial question is, what are the pluses and minuses of finishing a rosewood or ebony fretboard with a high gloss poly? I have seen some BEAUTIFUL speaker cabs done this way. For this particular neck, I will probably go with Tru-oil on the back of the neck while going with a glossy poly for the headstock front. I would like the fretboard to be a little shinier than usual, hence the poly thought. Unlike most, I actually LIKE the glossy maple fretboards, but with the smooth feel of Tru-oil or tung oil for the back. Thanks in advance, and I'm hoping to be a very active member! I appreciate your patience as I learn. I do have several books I'm reading, including the Erlewine, and will try not to submit questions that have been asked and answered 100+ times. Cory
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