Nicko_Lps

Its all a matter of taste,not good or bad use 'em both and deside what you like. On my LP i have a 490R and a 498T,i feel that the bridge pickup is a bit more trebby and i placed 250k pots while the neck has 500k. Cheers!

There are some buzz sanders by Rupes,all rupes tools are mostly black with orange power switch the sander is the best avail. on the market. But the best sanding tool is a flat hardwood with sanfing paper under it.

Skil tools are not for pro use i destroyed a drill and a batery powered dril,as about routers i got 2 makita 22.000 RPM is not so good but these routers are real monsters.Dewalt makita and hitachi i think are the top quality tools for hard jobs.

I know a bit about this; there are limited circumstances under which you can transport BRW lumber into or out of the US. According to CITES, you can buy/sell and transport BRW lumber within your country, but you cannot ship it out of the country. Also you cannot receive shipments from other countries. These are international laws, and apply to your particular country if your country is a signatory (member) to the CITES treaty. I have an Argentine friend of mine in the US whose grandfather passed away 2 years ago, he was a clockmaker (high-end grandfathers) and had a stash of lumber that included some old-growth BRW. I had actually met him while doing field work in the Andes, and since his family in Argentina didn't want it, they passed it on to him to pass on to me. But it was a bit of a mess (and 6 months waiting) to submit the paperwork allowing him to bring it into the US. But the stuff is beautiful, it was well worth the BS and the wait. Pfff! Old? Brazilian rosewood? ahhhh.....Lucky you.

X-Rays? That would be cool to see!

Ok the whole set of pics! Theres even a small gap on the left and right..Not to mention the bottom that is not visible... I would never make that joint at a cheap dinner table leg. But Maiden69 he says that this guitar was made 1998 are the older ones that way?

You are 100% right Mattia,but i just can't work 8 or 10 straigt hours with a mask, as about me it drives me crazy and i dont work with those woods so often.. Also the real danger(i think)is mother of pearl i cut MOP with my dremel and those thin speed disks,1 time 1 mistake and i was barely breathing for 2 days i think that can be a real problem breath protection is a must here.

I have used tones of european oak but i used american some times.(not in guitars) American is still hard a lot more lighter and a lot more stable.(double priced in Europe too...) European oak comes usualy from Balcan countries and that wood is a firewood sometimes, To pick 20 slabs from the european one i must choose it from at least 50 slabs. And the most imprortand is:when i saw the european one is straight after 15 mins bends the most american ones dont. If you can find american and still wanna use it,use it.But i dont see it to be a favored tonewood in many cases. Cheers

I made some wooden pickguard for me and friends. There are real wood leafs? how can i say that that their thickness is about 0.45 to 0.6mm you can do a 5 ply one with these mine is 5-ply flammed maple and wenge maple/wenge/maple/wenge/maple and it looks really unique.

I've met a luthier that he claims 2-way truss rods are not so good for overall sound,i have no idea why he said that, ive seen some internet web page that i dont remember to claim the same. Personaly i dont like the bigger chan that is needed for the 2 way or martin style. But im quite sure that the 2-way are more stable than the vintage ones.

Man thanks for this but having thoughts about if that can be true. The link says Beech is cancerous,well im a furniturer for years now along with my retired father one of the woods that is used mostly on woodworking(europe) its Beech and i've seen none of my collagues to have anything like that,its worth to take a good look but i would not take that seriously. The most irritant wood that i ever used is african walnut,my nose after some time of sanding bleeds pretty common,and the aniegre(not sure if the spelling is correct)that tends to choke me while sanding. Anyways thanks ill sure take a closer look to that.

Damn dude! That is sooo sick! Man is that a gibson?If it is it's firewood...

I have worked that stain over ash and other woods not in guitars in furnitures,its water based stain that you shoot directly to the wood and not after the sealer. You can check out Milessi that has that white and its awsome.

Wenge rocks. Awsome work in that bass dude,cool headstock!

If you did that...its not a guitar anymore its a piece of fine art. It takes big @#$% to do that amazing.

Thanks GA Bert for this.

I dont know if brazilian rosewood is better than madagascar or indian but i think that looks better to me. All these 3 spieces have a major tonal diff? Does the brazilian one offer more stability to the neck? Can i find straight grain brazilian rosewood somewere for fretboards? Comparing rosewoods with black african ebony what are the tonal differencies mid treb bass? Thank you guys in advance.

The issue with the guitar going out of tune has nothing to do with the neck joint issue. And he is not the one that stated that the neck joint (tenon) on Gibsons are bad, it is every luthier that has had to work on them. Thank you for the welcome Maiden69, I think that a gibson custom that was made in the 80's is still more than good and a bit old guitar,also i think that the joint is a part of that detuning problem along with woods tuners etc...I do take him very lightly and i would never think that he do all the astronomic theories that he mention in his site. Peace.

I agree to this,much more?How much more it wont stop? It will sure be better but the question is does it worth it? I have a mahogany slab 2.20m high 36cm wide and 5cm thick i would never kill that wood for justa test. Neck trough for me too.

I bought an Epiphone LP Slash cause it was looking good,but if you wanna change a bit later the sound and buy some real electronics they are awsome for a long time after the begginer level. Cheers!

Gibson Lp's are perfect,despite that my ribs hurt when i play seated and by back kills me when i play standing its the perfect guitar i just cant stop loving them.

What you say about Roman and how you say it made me really to laugh,you are right about him many things that he say are they way that he want them to be but from everything that you read you can make your own conclusions. About his long neck tennon astro theory he is right in my opinion and he sais the nut and the bridge are both seated on the neck. True but by the way he makes it the bridge cant seat over the neck it will be about 4cm away from the neck. I read his articles and did something similar but my neck is not 5,5cm wide under the bridge,but it is about 10,5cm with a maple top. I was sure wrong to place that url that way,sorry.Also he metion that the LP way of neck to the body joint is not so stable,well i have an LP that it detunes in one week or more. But i still learnt something from him. Do you agree GregP?

+1 Somehow, his ridiculous information is thick on the internet. I know when needing to do my first repair, I found dozens of pages from him and with little knowledge of luthiery at the time, I found his stuff to be mostly bogus and luckily in my search I found this site. This site not only has some good information, but some amazing builders whose stuff would be extremely tough to beat in looks and in structural quality. As stated, do not look to Ed Roman for any type of luthiery information, he tends to make stuff up that makes no sense, in order to sell his products. I just want to make clear in your post, you say you are just now starting to work on guitars meaning you haven't built a guitar yet or just a few? But you have worked on woods and done joints for many years. I was just curious how you've come to the conclusion that epoxy and glues like titebond, are tone robbing adhesives, when you've only just started building guitars. Thats a pretty bold claim, especially when you look to luthiers around the world and what they prefer. It just seems unlikely that someone who has just started to build guitars has a better understanding and idea than the people that have been doing it all their lives and have individually compared each and every type of glue joint themselves within actual guitars. By all means, woodworking experience is something that is a huge benefit, I only wish that I had more wood experience, but making claims that go against what is done by the most experienced and qualified luthiers seems ridiculous to me and I have such little experience compared to half the people that have responded to your post. J Yes you are right but what i say is how i think and how some real luthiers made me think,i visited them saw their work and how they work so i came to those ideas and wrote: <<<Every mind has its own way of thinking. Whose wrong?Whose right? Results can say that.>>> Seen that? And as i seem ridiculous to you,you seem ridiculous to me that you call Ed Roman crazy that he has so much more exp. from you.... That means that youre right but you're not better than me you are the same,also it seems that you try to earn someones sympathy in that page.

A thick layer of glue acts like a car suspension not the joint. Nah. Most glues tend to get hard. But guitars aren't glued together with a thick layer that acts as a "buffer" between pieces of wood anyhow. So even if glue were that rubbery, that's not how guitar woods are jointed, laminated, etc. So, it's a false analogy. (all meant in fun ) Good call Greg. Glue joints are not designed to be thick. Some glues such as epoxies are designed to be used a little thicker, but Titebond for instance is not. Starving a glue joint with pressure is not an easy thing to do, but if the joint is sloppy it is possible(end grain sucking up glue and can starve a joint with average pressure). As far as a glue being rubbery. Some glues may not dry as hard as others, but HHG is a glue that you can use if you want a "harder" glue. A larger concern with plastic glues would be creep, but this generally does not pose a problem with properly made joints. I would personally be a little concerned about compressing the wood(not so much as it relates to the join, but crushing the wood itself with extream pressure). The reality is that most glues will achive more than enough strength, and a clean joint with commonly used methods. You will not solve a poorly surfaced or prepaired joint with extream pressure(you are more likely to weaken it). Extream pressure could weaken a glue joint made with epoxy. Peace,Rich fryovanni: On that i use a glue called urea resin or kaurit leim, to work with that you must know that when that glue cures completely the left over turns like a piece of stone. You cant have that glue NOT pressed cause it will not sink in the wood pores and that is bad while jointing with that type of glue,because it has no flexibility unlike the aliphatic resin glues(titebond)and epoxy that have flexibility that is a the tone killer fact.The surface must be flat and flawless, The pressing machine is flat and cannot cover a mistake that might happen in the surface flattening. As about a luthier i start now working on a project but as about woods joints glues and techniques im a pro for many years now. Glues are not getting hard when cured,not all at least and now that titebond is one of them. I just joined the forum and at my first post,and i see a smart ass pic,conversation is the best thing to do.We can all learn form each other. Extreme presure will not weaken the joints cause when you press that amont of force the glue inside the joint will be driven out from the joint and the remains of the glue will SINK into the wood grain and that will give a flawless rock-hard invisible joint with a lot LESS tone killing glue. Anyone that is intrested to see some good articles check this site:techarticles. I have no idea of what his guitars are sounding like but what he sais on that link are usefull. Every mind has its own way of thinking. Whose wrong?Whose right? Results can say that.

A thick layer of glue acts like a car suspension not the joint.