ToneMonkey

You'd be suprised, I ripped through the finish on a body in about 15 minutes with emery cloth. Tried it with sandpaper once and that took an absolute age and a lot more effort.

Emery cloth and a sanding/sponge block. Shouldn't cost more than a couple of quid.

Now we're getting somewhere, mpeg2 obviously knows about this kind of thing. I was thinking that heating something up to lock it in place was a bit of arse dribble too. As far as I can see, that's just heating it up I thought it might harden it if they were going for a carbonising process or something like that. Materials never was my stirong point, the lectures were in the afternoon and I was normally fairly drunk by then

I think that everyone has been a bit quick to jump on the "that wouldn't work" bandwagon here. I know that cryogenics is used in a lot of electrical componants (valves, pots etc). I haven't got time to read through the links, but I'm a bit unsure as to how they would treat a pup with cryogenics. Surely if you freeze and then heat a magnet you will change the inter-molecular structure of the magnet (say from a body to a face centred cubic) altering the magnetic properties of the magnet (such as: it was magnetic, then we froze it and reheated it and it's not magentic anymore). Are we on about treating the whole pup after it's been constructed or are we on about trating the magnet and wire individually prior to costruction. EDIT - Then again, if you heat up steel and cool it slowly, it stays magnetic. However, if you cool it rapidly it turns it martensitic so that it is no longer magnetic (and that ladies and gentleman is how to test if your carving knifes are cheep steel or not), so I would imagine that treating the magnet is possible. Maybe the process alters the magnetic field which is where the sound change comes from.

End grain is a right bitch to sand.

oh arr, what's that then? Never heard that term. it sounds like another phrase for intonation (?) Does to me too, but we may be missing a trick here. Bert knows his schizzle, so just wanted to elaborate

oh arr, what's that then? Never heard that term.

Something solid (that doesn't wobble) to work off is perhaps the most important and most overlooked thing that you'll need.

Just to throw something else into the mix (and I have no experience in this type of repair), but I'd explore the possability of cleaning up that dovetail pocket and replacing the existing male part to fit straight in. I'd have a look at bringing something from the neck pup pocket that will pull the neck towards it when it's tightened up. Like those funky bolts that are used in cabinet making. Like I said though, I have no experience in this sort of thing (well not on guitars), so I just thought I'd throw it in there.

That's what we're here for

Personally, I'd look at changing the pups

Congrats to Brian. Bit of a milestone.

^ | | | Yeah, him

The head gaffer used to post on here, infact he might still do because I've forgotten who it was Have a look for Afri-can guitars. Those guitars in the link are wicked. I've got to get me some of those.

Try to track down a copy of jason lollars book "Basic Pickup Winding" It's a rare as rockinghorse poo, but they're out there. I used to have all the pickup specs somewhere. I'll see if I can find it.

Ahhhhh, crap. I'm doomed

Alrighty fellow guitar fiddlers I was looking thorugh a Guitar mag last night and there was a picture of an acoustic bass with the sound hole in the corner, next to the where the bottom horn would normally be on a strat. I was wondering if this was the a good design or not (personally I can't see why not) but to get my head round it, I was wondering about the following: Generally the sound hole is directly below the strings, but does it need to be. Essentially, I picture the soundhole's purpose as letting the air out of the soundbox, due to the vibrations of the top, not the strings. If there are some vibrating strings and a big fat sweaty hand infront of the soundhole, you are increasing the resistance to the air comming out of the box. I can't see the strings having any need to be directly over the hole, unless it forms a kind of echo, if you know what I mean. The strings themselves don't seem like they would have that much effect on the air movement within the air box. Anyone following or do I have to think of a better way of putting it when I'm not in such a rush. Scratch your heads and let me know what you think. Kaj

I made a channel in the neck and glued in a McDonald's straw. Nice little cable duct and worked really well. You could even shield it if you wanted. Looked really neat and tidy.

They were good times you turd lipped, fish feltching, pigeon worrier

I was about to suggest the same. Find some tube with the right dimensions and tap a thread into it.

I know this is fairly obvious, but are you pulling it straight up? Can you wiggle it?

Hotrock?

volute?

Be sure you call for an appointment. Might want to grab an estimate on hourly rates from him. I'd bet an hour of his time will run you $500-$1000 easy, lol, jk. That guy never sounds like he has a second to breath, so to hang with him, he might just put you and those radiusing bits to work. He's Australian so beer is currency.

Old, played guitars have things wrong with them. That's how they come. Personally, I'd take a load of photo's and send them out to some vintage guitar dealers and see what comes back. If they think that you are willing to sell it, they will probably give you a guide price for them buying it. Chances are that they wont be able to give you a firm quote without looking at the guitar first. Kind of like cars though, they'll probably offer less then you could get for it in a private sale as they have to make money too.