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doug last won the day on February 7 2013

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About doug

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    GOTM Oct 05, Oct 06

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  • Location
    Williamson, NY
  • Interests
    Guitar necks!!
  1. LOL... I didn't actually give it more than a quick glance... Photoshop makes a lot more sense.
  2. Ok, so a lot of us know how much work making a neck like that is, plus all the other custom doo dads. It's hard to imagine going through all that only to make it look like another strat...
  3. I'm of the opinion just about any wood can be used for a neck... However, it's not just the species you need to be concerned with, it's the chunk of lumber itself. In other words, one piece of maple may be fine for a neck, yet another might not for numerous reasons, which I'm sure you're already familiar with. Santos rosewood can make a very nice neck, however keep an eye out for signs of it twisting. I've used lots of it, and this particular wood can be very testy. It's a sin to toss big beautiful pieces into the burn pile, yet sometimes it's prudent. I use pau ferro as the default fing
  4. You need to find a way to sand the glue faces parallel especially if you're planning to layer like the neck in the picture.
  5. Belt sander is good. Just use the right kind of belt and score a nice line with a scribe so you know where to stop.
  6. I've used table saw with soft metal carbide blade and removed just a little at a time from the plate side. Worked fine, but sort of dangerous. I'm fortunate enough to have a friend with a fancy machine shop and he had one of his people mill another block for me too. I'm like a bull in a china shop with a file so I'd ruled it out... LOL
  7. jessejames... glad you have this worked out. I hadn't had a chance to read this thread until now, but your solution is good IMHO. Especially since it worked! I didn't catch what bridge you were going to use, however with the heel being at 2-3/16" wide your back into the realm of "normal". It's actually a shame that a vendor would supply a template like that to an unsuspecting customer. I've had many customers over the years send me templates (thinking it would help) that were complete garbage. What pains me, it that they actually paid money for them! You were fortunate to have noticed the d
  8. Incra tools ROCK! They are absolutely essential for neck taper layout, and for tuner hole locations. Just a quick reality check: Now, that being said.... we can only get just so "close" with non-CNC woodworking. Cut me a board 1.389" wide (the first pass) on a table saw using just the .5mm pencil line. Even the time tested marking knife has it's limits. In the context of high precision, the width of a .5 mm mechanical pencil is a mile. The cut could be made either side of the line, or in a best case scenario split it. What is "close enough" for woodworking in this case? Good
  9. Actually, this is exactly what I do. Neck and fingerboard are the same size. My comment may not have been clear enough. What I don't finish is the back profile until the fingerboard is on. I leave 1/8" of the back unshaped, which is that very last bit along the edge where the fingerboard joins. This way, the neck shaft and fingerboard are exactly the same width and taper. (important with bound fingerboards) The blocks line it all up and keep it there. I also pin for the initial position. The blocks act as a little extra protection from shifting. -Doug
  10. Here's a tip: don't shape the entire back of the neck until later. Leave 1/8" or so flat on either side, which should be parallel with the fingerboard edges. Once you clamp (assuming some sort of fixture/setup to accommodate clamping from the back) you simply need to place small blocks on either side of the neck and clamp. This forces the fingerboard to stay put. I place them at the heel, middle, and nut. After several hundred necks it's still 100% effective. Be sure to use something like wax paper between the blocks and the neck to keep from sticking. I actually coat the blocks with sealer t
  11. Maybe it's just the way it looks in the picture, but the color seems profound and dark. Is is wet? Should be fine with a dark dye though. Those large dark growth rings will show vividly with a light dye, or no dye finish. Maybe a dark cherry, or deep black might be good. Using blue dye on yellowish color wood makes it turn green so be sure to test. Book matching flat sawn wood is a challenge at best. -Doug
  12. Unless your top is real thick and you're using the 3/4" long pots, there should be enough play in the control hole for the control shaft to lean some. You then have to make a 'tilted' surface in the control cavity for the pot. This can be done in a multitude of ways depending on what tools you have handy. Forstner bits have their own drawbacks, yet can do a perfect job if the setup is right. I think the hardest part is figuring out the tilt, so you might have a bunch of test fitting to do until it works out right. A Dremel tool is useful for these sort of things too. There is a flat disk
  13. Consider this: The truss rod should be on center within reason. In reality, a hair one way or the other is not going to be a show stopper. With the truss rod off center too much, the whole neck may bend unpredictably if a lot of tension was applied. Double action truss rods work to bend the neck and are sort of "stand alone" in the way they work. If your accuracy is less than perfect, then this type of rod would provide some useful 'fudge-factor'. If your neck is accurately made, then the truss rod will have little to no tension after the guitar has been strung. -Doug
  14. I've had several customers send templates to me for one reason or another over the years. By far the nicest of the lot are from the aforementioned Guitar Building Templates site. Nice clean edges and accurate cuts is what I noticed right off. If you want to make a copy guitar, then you'll be in good shape with one of those. IF you choose to build your own neck... well, do it right. Buy the right tools, and work with caution. The neck is crucial to playability so it should be as perfect as possible. -Doug
  15. It's important to be sure your slots are clean and deep enough right to the binding. I do a lot of them, and it's a foregone conclusion that glue from the binding will be in the slots. I clean and verify every slot using THIS TOOL. Hammering presents the added headache of spring-back. You hit the fret, then it pops back up a little. This enlarges the area where the barbs should grab causing the fret not to "stay put". By pressing (my method too) even pressure is applied to the whole fret setting in place with no vibration. I grind the underside of each fret so no tang is showing on the
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