stringkilla

As a presicion wood worker I've always preffered Tite Bond Brown. It is an aliphatic glue, strong, watertight, bonding agent. I am not a salesman for the company, I just know a superior product when I see it. Also, I must have used upwards of 1000 gal.'s of it in my working years and had little trouble with creep. Creep, in this sense, is a funtion of, way over the top, clamping pressure to be sure. I have made, and sold, about five laminated necks, usung it to bond them and so far no complaints, also the lami-bodies I've done are good to go also. Don't fret, use it with good luck.

Good, a knowledgeable response. I have been around, and by that alone I can say, "no I've never heard or seen anything like this, that wasn't done with a synthesizer". Well, I'll be glad to see a diagram, how about the rumbling effect, like the ground makes during a earthquake?. I know this does not exist.

I want to have an effect generator that, produces a sound like a helicopter, in a small stomp box type of utility. Would such a thing exist now, or would it have to be a special design. I am electronically challenged, so designing one myself is out of the question, but I can solder pretty good. Also as an alternate effect, one that would create a rumbling sound that would increase in intensity for a given set time period. Can anybody give me a link to or suggest who or where I culd get a schematic for such things ??

Soap, you have my sincerest apologies, I was mistaken. Some of my conclusions will be closer to correct now. I do beg pardo . Thanks

Soapbar. if you check the factory setup specs for a Strat they specify .062 or 1/16th of an inch at the first position and 5/64ths of an inch at the twelfth. I guess I'll just do more research on this argument to find a good middle ground that's better than the current accepted norms for tunings. In the meantime Earvana offers the best and simplest solution.

Well, if we take that as true, then from the bottom of the string it is .062". The plane across the top of each string, essentially the parts we touch, are angled ever so slightly with the changing diameters of gage, as to affect the intonation of true pitch. How can one calculate the value to truly get pure pitch as am calling it. How could one compensate in nut design for this?.

I was doing some drawings the other day and started to analyze, the details of a guitar nut. I started with the idea of keeping the center of each string slot and the center of each string on the same plane of reference. The required low action setting of .062" from fret one. It seems to measure out to a twisted neck design since following string gage diameters seems to set an angle from string number, 6 to 1. This being the case, and all the nuts I see on just about every guitar are the same depth uniformly across the fret board, setting each string height at a different center, how does this impact tuning and intonation?. I don't rightly know if I should be concerned about this , or , if I should just carry on and design a revolutionary new area of guitar theory. Any comments?

Avenger, Ive used it and it's mostly resin, used initially for fiberglass but with additive for color, and texture. Cures hard, cut ease will not dull cutting tools. Comes up to a nice smooth scratchless sheen. With a good finish you should have spectacular results. Good luck.

Hey yah! This neck is as "in tune" as it will ever be. Ok so, I don't want to change the position of the saddles, I like them where they are. Adding .015" will work 'cause I went ahead and "did it". The dead fret, is just a little above the neighboring frets fore and aft, so I'll need to attend to that but the buzzing is gone. Thanks guys.

I dreamed last night a fix for my Squire Tele Bridge setup. What if I installed a .015" shim under the plate there to take out the buzzing and dead fretting? I love the neck action on this Tele. It's almost as good as my old LP. I have made no other mods to this guitar as of yet but I have plans. What say you, gentlemen.......

Thanks guys I've decided to take it and start again doing better this time.

Thanks Pete. It will be helpful. I suspect I have more than one cold joint and at least one short. Back to the soldering board.

I know, I should have done a search, but I did'nt. So with that out of the way, I have wired my PUPs according to the sheet I got in the box, Texas Specials from Fender. I set up a test with three strings, just for testing, what I got was no sound except for a hummm. So I know enough to say, something was grounding out the circuit, yes? I ran a wire from the trem claw as instructed direct to the output plug with the wires from the PUP assy. I have since removed all the guts and will try again. This time I want to know if it works before I install it in my guitar, a Stratocaster '67 beater I'm refurbing as a Relic. I am also using a five way switch, Schaller. So here are some questions 1, on the Schaller the leads are numbered 1-7 with and extra terminal connected to a nut on the side of it, what is that for? 2, is there a reliable way of soldering the capacitor and ground wires to the back of the pot, I think these may be cold joint?. I will this time switch to a standard bridge no trem. I don't use it anyway. So how can I test this circuit with a Volt Ohm meter.

Certainly wages are a factor but materials are a second. I have a Squire Telecaster I bought at Guitar Center. No case, I didn't even try it out. I got real lucky it seems because this is a great guitar. It features a wide neck, 1.75" at the nut, a fabulously straight, hard ,twenty four, well fretted neck. The only problem is that it sounds like a Les Paul I once had. I can't make it sound like a classic Tele, where's the twang?? That is where material choice comes into play. I ,most certainly cannot justify the going prices of Fender and Gibson with essentially the same manufacturing sequence. They both use Cnc and blanket spray equipment. Use the same CNC multi spindle router to shape the neck. The main difference here, is the worker, must get paid a wage that allows him to get into his SUV fill it with $4.00 a gallon gasoline and buy food tha its inflated by some 5000 percent so he can feed his or her family. We as educated or elitist consumers are at the mercy of an ever escalating price war for mere profits not quality or playability. Just my two cents on the ever question of quality vs price.

The third option is the only correct option for a strong joint. All scarf joints are done in this way. There is no other that is stronger and more economic in materials.

Thank you, the LED wizerd worked out fine. Got a nice schematic and I'm good to go. Thanks again. Killa

Will the cord for the guitar power one LED ?. On a side issue not being electronically minded, can someone suggest a simple circuit for one LED and a battery ? Thanks guys.

May I suggest that you check the adjustment on the pressure gages. I had a direct drive many years hence and it was preset at 30 lbs psi. There are two. The one on the left is for the tank. Try to open it as far as 90 lbs psi then adjust the out going pressure gage to your desired pressure. If you are painting with a gun a water trap is mandatory. By the looks of the picture it has a preset valve on it, the thing with the yellow or red castellated cap on it before the outgoing valve. Also if it has an line oiler take that off. It oils the air to lube the tools. Sometimes that preset valve serves as a line oiler also.Try to maintain dry, oilless air. Good luck. Killa

Years ago I made my first bridge out of Brass also. I had access to a box pan bender, a sheet metal bending tool. I think any good HVAC shop will have one or you can just solder the two main parts together. Soldering makes a goos strong joint when using flux and silver solder. But again what tools can you get free access to? Just MHO.

I guess by now you've all seen it, the Gieger topped guitar. Well where's the info. Been to the site and there isn't anything on it. So any guesses as to how the top is done. I'd like to see the back of the neck. What say you?

You're kidding me, right. That much huh! Well I guess I'll have to rethink this. I've got a Mahogany blank all gled up, maybe I'll use it. MMMMMMM

I've got this 1967 Stratocaster neck that I'd like to use as a core, to rescue it from the trash, you know. So here's what I'd like to do. First, cut off the headstock and scarf joint a reverse headstock profile onto it, then take off the fretboard and replace it with a preslotted birds eye maple one I have in my shop. Then sand and refinish. What do you guys think about this? Is it something that can be relyed on to stay together or is it a pipe dream? Comment requested. Thanks

Here's a good one. If I use my floor model drill press to buff out a finish,what's a good speed to use. I should think too fast and it would just burn it up. So what would you recomend for speed. I have twelve speeds availible.

Remove the head from the column, reverse it and hang it from a secure overhead beam or 2x6. Email me and I'll give you a diagram for this unique option.

I have seen several posts concerning Lexan or plexiglass as an inlay material. The main issues being how to level it. Well here's an idea and a solution. I worked for several years as a mold maker in a plastics company that made sports related plastics. One very interesting job was to make clear Lexan face guards for La Crosse. Well long story short, to get the ultimate shape heat the lexan with a heat gun pre stress the part to the radius and voila, it's shaped to fit.