frank falbo

Yeah, if you're going to use a pattern cutting bit it would have to be really shallow, but I've seen 1/2" depth pattern cutters. I'm mostly talking about neck and pickup cavities. And I don't actually use a pattern cutting bit per se, but for most of my edges I'm using one of two 1/4" bits I have that only have about 1/2" of cutting depth, but the shank is over 2" long. So although it doesn't have bearings it acts as a pattern cutter against the shaft. For Floyd routs I do them freehand but I just wait until I've reached my final depth to to the final "straight edge." So that means I do the pink part in one pass but I wait on the other part until most of the material is gone before I clean the edges. Anything less than 1/2" deep and I just do the edges in one pass, and use a regular bit. But if I'm going deeper for pickups or neck cavities then I'll get the edge at about 3/8" depth and then just follow it with the pattern bit for the deeper cuts. Also the deeper you go before doing your straight edge the more control you have over the router because the resisitance is greater. I'm not advocating anyone use my method by the way, I recommend templates for the outer edges of any cut. I just never became dependent upon them and so now it's just second nature to mark or scribe and then route away! As far as double stick tape for the filler thats probably fine.

That sounds good, just make sure your spacer is really secure, you don't want it to come loose and hit the router bit anywhere.

I think he's trying to just control the outline, but he wants to make 2 or 3 different templates so when he goes to route the deeper parts, he has an edge guide for them too. I'm saying that if you leave the main template on the whole time, it's not hard to control the router for those little sections where the different depths come together. Even if he cuts those sections a little wavy, they don't matter or show under the trem. If you switch to a different template for each depth you've introduced the possibility of less than perfect line-up. As for what I do, I only use a fixed base router, manually adjusting for each depth pass. And yes, I don't use templates to guide the outside of my routing. I can make a straight line. Plus you only need to do it "once" because then you can use your own side walls as a guide for a pattern cutting bit. But yeah, I can route a straight line. I just need to see it. Sometimes for mahogany or other grainy woods I'll take an exacto knife and scribe it so then you can see exactly when the "curls" come off the endgrain. Most of the time I just mark it or mask it.

I was pleased with the bit itself. At least it was a good bit, you know? I love the rods, and I use them almost exclusively. My only complaint is that I would like to see the allen wrench head version welded to the "other" rod. What I mean is, because you have that gap between the rods, you could leave about 3/8" more wood under the allen head if it were on top when installed, rather than on the bottom. On one of my own personal guitars I actually flipped it so now clockwise bows and counter clockwise backbows. But it looks great and I feel better with more wood right at the head, since that brass anchor is pretty big there. If you're going to do a volute I'd say you can have a neck thinner than 21.5mm. I have one that's almost an Ibanez wizard thickness. But I thinned the fretboard by about 1/16" so I'd have more neck wood for the rod, and it has a volute, too. I like to make the depth for the two ends, and then come up about 1/32nd for the length of the rod. Even with the tubing on there it sits higher than the ends do. Its not much but if you're carving thin like a wizard it could be the difference between success and firewood.

Yikes! I hope what you saw was good! It's been awhile! If you're talking about me doing the whole thing freehand, I will mark lines, tape straight lines off, and do whatever I need to see where I'm going. I've just always had a steady hand. I can draw a straight line too. Maybe its because I don't drink! But seriously, I know lots of people can't really do that. I've just developed that feel, and I think I was lucky. But if you're talking about this depth variance, the lines are already there, really. Once you do the first depth, then the second follows the line of the block route that's already there. The third follows the lines on either side of the trem, and those are in the template. You're just freehanding the last 1/4-1/2". And for me, anyway, blue and green are almost always the same depth anyway. I just have a 2-depth cavity. So I'd just be freehanding that little area between the sides and the block route area, and you'd never tell. I would be more fearful that between the double stick tape and the router pressure I might not line the second or third template up perfectly with the first. So then you could be kissing off some wood to one side and undercutting the other, and that would have to be blended afterwards. If you leave the outer template on the whole time you know your outside lines are perfect, and that's all that matters. I mean, even if you slipped on the inside and gouged out 1/16" in there by the block cavity, it would go unnoticed.

It's been a long time since I've used it for anything, but here're some things I remember. Its self leveling, so its crucial that on something like a pickguard you have it on a level surface. Not just flat, but level. How much you pour determines the thickness of the finish, unless its a smaller item and the finish all runs off the sides. You can sand and buff it. It's just real hard like a Japanese or Korean factory poly finish. (but that's good for a pickguard) You can "help" it to run along with something like scrap wood or a foam brush if you see it's not going into a certain place, but you only get one chance for a dust-free finish. (so like, don't sneeze or lean over it until all the lint in your shirt pocket falls out) And make sure whatever you're using is dust free. And finally you'll have to work the edges. You'll get drips and runs down the edge that you can just clean off with a blade, belt sander, sanding block, or all of the above. You can even wipe them up to get a head start before it dries.

I'm not big on templates, I've been routing freehand for over a decade and I can't justify the added expense or time buying/making them since most of my stuff is custom. I would only use the same template once or twice. But I will use them periodically, and for a floyd route like that, I would freehand the depth variations. You really only need the template for the outside walls anyway.

Because of the abuse it will take, I would recommend an epoxy "bar top" finish. You mix the two parts together, and just pour it on. It's the stuff they pour over playing cards or coins or whatever goofy thing they want stuck in a table top. That will be the most like putting clear pickguard material over it. Otherwise you have your pick of the basic guitar finishing materials.

Pack of 100 quality razor blades-always sharp, always there when I need them. I use them to level sections of finish before wetsanding, finish shaping necks, body edges, I almost feel like I could do without anything heavier than 400 grit paper so long as I have the blade. Sometimes I snap or grind the corners off so they are safer, and for smaller jobs or to get into a tight spot you can grind it into a U shape where there's only about 1/2" flat razor surface but alot to hold on to. Also my file collection. Files don't lie either, just like blades. They are straight, and if they put a mark or gouge into the wood then it was high at that point, and you just couldn't feel it. Sandpaper lies to you, except maybe when it's stuck to a metal block, and then in essence you've just made a different type of file.

You will at least need a rotozip, dremel advantage, or something like that with a router base. Cheap routers are about the same price, though. I wouldn't like to see you do anything like pickup or neck cavities without one.

Yes, and then you can forget everything I said! I don't use templates, though.

I have an adjustable speed drill press, and it gets pretty fast. No where near the speed of an overhead router, but for small tasks like this I go to the press. First, you cut your neck pocket without the angle with your router, and to fairly accurate depth at the rear of the cavity. Then, I build up the appropriate angle to the underside of the body. I'll cut appropriately sized shims, or build up the neck side with one main shim across the whole body, perpendicular to the neck. You need a pretty big table for this. I built a big table for mine, you can also put a piece of plywood or something else that is flat. So when you place the body flat on the table, its actually resting at the neck angle you want to install. Then you use a pattern cutting bit to re-cut the bottom of the pocket while tracing the inside of the cavity. If you don't have a pattern cutting bit, that's okay, because the reduced speed of the press means that even a 1/4" straight bit will likely coast along the neck pocket wall. You are taking so little off the bottom that the pressure to move the body is so light. On an existing guitar where I need the bridge or saddles to sit higher, you can calculate the angle crudely by making your "shim" roughly twice that of the desired elevation. Then cut the angle so that you come out even with the back of the pocket but cut the angle going forward. In other words, if you use a 1/8" shim across the neck pocket area to lift it up, the strings will need to be raised 1/16" at the bridge. If you have a curvy body that won't sit well on the table, then you can make a mini frame for it to sit on. I have cut angles into most of the factory bolt on guitars in my collection. Even if I don't want the bridge to sit differently, I do it because I want the neck to sit deeper. So I can seat the neck an extra 1/8" into the body, and still have the same bridge location.

I agree. Theoretically, the spring tension is constant regardless of the location of the bridge, since the spring tension is an equal and opposite counterpart to the string tension. The only way to alter the spring tension is to alternate your string gauge or tuning. So no, it's not possible to have a level float, and not enough spring tension. The jemsite forum debates this constantly. It's a marriage of all things coming together in harmony. The obvious is that the studs must be tight, immovable, and straight. And their groove has to be clean, and have the right angle in it to match the range of your knife edges. If they're grooved from the lathe cut, the knife edges can "walk" up and down in there. They also must line up perfectly with the knife edges. The edges must be sharp, but not so sharp they just quickly wear down unevenly, or curl around into a burr. Besides that, so long as every other part is tight, like the block, the saddles, whatever, you're just fighting an uphill battle. But all you have to do is try an old Ibanez rocker-style trem, or something like it to appreciate the relative stability of the Floyd.

A 7 string Floyd type can be modified to have an eighth string saddle off the baseplate. Not a Floyd saddle, and not fine tunable unless you get fancy. But it is intonatable, and works with the ball end on. I know because when 7's first came out I designed it to convert a 6 into a 7. Basically you have a movable saddle "cradle" piece and string through the back like a strat. Then, since it's not locking or fine tunable, you can use the 7 string lock nut with graphite for the eighth string.

How thick is it now? And when you say "archtop semihollow" do you mean like a carved top LP or PRS but with chambers, or a 335 style "acoustic" thickness top? If its going on a chambered solidbody back and it's 1/2" thick or so, and you'll only be carving the top portion, then you're fine. 1/8" will clamp out, and assuming you have good glueing techniques it's nothing to worry about. Think about the pressure a scarf joint takes and they hold fine. The light pressure you'll need to flatten it won't be enough to cause trouble.

I made a Brian Moore style 7 that's green/quilt top like Scott's, mahogany back, 2 hums, I perked up when I saw that pic they're so similar. (Nice work by the way) On that one the top has that "arc" radius. There's no forearm bend, but a constant radius across the whole top. So what I did there was to start with a very oversized top, cut only for the fretboard. (deep set neck, already attatched) I pre-arced it. Then I put a piece of MDF under the guitar. I drilled over 100 holes all around the body, and then used screws as my clamps. It was wonderful. I could put the screws in at an angle to adjust the direction of the pressure, and because they were screws (duh) I could adjust the exact amount of torque. I did also use weight across the top. Because of the cutout for the fretboard, it worked wonderfully in the cutaways. I was thinking how this would work on a drop top, and I think it would be okay, but since most of the guitar is flat, you might as well clamp it, to get even pressure across the whole top.

First I'd superglue the crack and get it solid. Then I'd make sure the fretboard wasn't lifting. If it was I'd secure that too. Then I'd route a channel similar or equal to the size of that bubinga strip from the end of the strip at the scarf joint to around the E tuner, and fill that with a strip. You could match the bubinga or use maple. The channel would be uniform depth, flush with that rod anchor. I'd use bubinga if it were me, and I'd run the channel to about the 2nd fret so it made it look like the bubinga strip just went along into the headstock. Plus I'd like the channel/fill strip to cross the scarf joint line, to reinforce it, rather than end right on it. If you did it right you could really hide the evidence of any work.

Well, everything's doable. If you're talking about a broken headstock with failed repairs sometimes that's the only way. And on a set neck or neck through you can't really make a new neck. But if it's just for cosmetic purposes I'd recommend using the headstock that's already there and replacing portions of it. I turned a "hockey stick" or banana headstock into a straight string pull head by grafting portions on it. The laminates actually improved sustain, and I was able to add a volute where there wasn't one before, and now it has about a 5 degree angle too.

A paste wax will retain most of the look, adding a little shine. It will improve the moisture protection and because it's a wax, less debris will "stick." I almost always paste wax at the end. A little goes a long way. You can use a lot and let it really harden before buffing for a different type of feel. You probably wouldn't like it, though. A heavier paste wax coating can turn into a "my grandma's old rocking chair" finish.

On the Ibanez finish you can use some of the thin superglue and it should suck it's way inside there on it's own. But you only get one shot, because otherwise it hardens and locks out any future attempts. When I do it, I sometimes use a syringe, but most of the time I just put it on the surface and as its finding its way in there, I "help" it along, by tapping quickly on the surface around the area. It sometimes helps to "massage" it in there. Or if its on an edge and you can sort of lift it a little with the edge of an exacto knife or razor blade, then you're sure to get it in there. And when you release it and press it back down the squeeze out will make sure it gets all in there. Then you flatten, wetsand, and buff.

Dave's right on but if you use a forstner and chisel, the unevenness of the canyon that you made can sometimes kick the router back as you go from a part that's cleaned out into a part that isn't. I like to use the router for all the wood removal except for control cavities, because they are massive, and they are deep, too. The added depth really puts a strain on the bits. I'm sure I go through more sharpenings that way, but it makes the actual routing experience smoother, to move against uniform thickness wood. So no problem cleaning out wood first, just be careful as you approach with the router. Those kickbacks can be enough to knock your template off its position, even if it's just a hair. It can mean a loose neck pocket or a pickup route that isn't covered by the mounting ring.

Likewise. If someone says "I got good results by...." I'm not going to argue with them, but I would never fret before intstalling the fretboard. The fretboard does backbow, and that in turn can have an adverse effect on the straightness of the final product. I see it like this: if you fret before, (besides having to clamp against frets instead of wood) then you are glueing the fretboard to the neck at a time the fretboard "wishes" it were backbowed, from the pressure in the fret slots. Your glue joint has that implied tension inside of it. If you glue the board first, you now have the chance to level any variations that occurred when you installed it, as well as fret with the strength of the whole neck blank behind it. As far as fretting against the flat surface under the board, I usually fret before I shape the neck, unless I think I have "problem wood" that may come out of level once its thinned down. But that way, I still have the flat surface under the neck to pound away against a flat work table surface. I'll all but level and dress them before I shape the neck. As a matter of fact, it enables you to do the angle of the fret ends at the same time you're shaping the shoulders.

This may sound silly, but I can't believe how much I'm using razor blades lately. I use them for everything. I use them to level finishes just before wetsanding, scraping binding, shaping necks, flattening finish repairs before wetsanding, and much more. I'm so comfortable with them now. I've always used them, but lately, I reach for it more and more. And you just get a big dispenser of 100 or so and they're always ready and sharp. They're usually pretty straight, too. So I use them to "cross-check" shaping all the time. Sanding a contour can fool you. Then you scrape into it with the blade at a 45 degree angle and you'll notice some high spots. Then you come in at the opposite 45, and clean it up. I was just carving a mahogany neck (deep set neck) and the grain around the heel was so hard to get smooth. It's like, when you transition from one "ring" to the next, its soft, then hard, then soft again. Both round and flat files were still leaving the hard part raised. The blade was the answer.

It will work okay, but ideally your bridge radius would be flatter than the fretboard radius. If you have a compound radius neck, you want the bridge to match or be flatter than the ending radius, not the nut radius. If you use a regular tune-o-matic, you can file the right radius into the slots on the saddle. But you're stuck on the schaller.

Hey Dave, this is what I do to flush-cut the headstock on the fretboard side. First, as you probably know you can clean most of it away with whatever, bandsaw, beltsander, etc. Let's assume the back of your neck blank is still flat and parallel to the fretboard edge. Then use the back of the neck as your guide. I lay the neck flat on my drill press table, using the drill press like an overhead router. It's dangerous and it doesn't have quite enough speed, but plenty for this job. You're only taking off the last mm or so. Its much like your idea to set a router on rails, by the way. Anyway, put a larger bit, say 1/2-3/4" in there, making sure its sharp. Then lower and lock your bit just as it kisses the original fretboard side of the neck. I know the headstock is angled, you just rotate your table so its just hanging off the edge, so the neck is resting on its flat rear side. As you move the neck blank back and forth across the spinning bit, you should notice you aren't even scuffing the old part, but the headstock part is getting sheared off perfectly. You just want it to be ready for the jointer, not to replace jointing. But this takes the fear out of that last jointing process because you know you're straight and level. If you're not comfortable with that, then I'd say belt sand the extra headstock area down about 1/32" below the surface of the neck, so you eliminate the possibility of it throwing off the straightness of the cut.