G_urr_A

As for the seller, I'd trust him. Lots of positive feedback, and he seems to be willing to back his products up. What I'd wonder about is how the pups sound in relation to your idea of good tone. But I have no idea how much difference there can be really. This is my 256th post. 2^8=256. Nice number.

I would not at my current level of experience sell my work. When I get to that point, I think my pricing would be along the lines of material cost + 10% (the material cost being the price of what I need to buy if I don't mess up; any messing up should payed by me).

The reason I would like to do what I asked about is that I have a neck that I really like, but I have no simple way of getting a neckthrough neck, and I don't have the economy and/or time to get fretting tools and learn to do a proper fret job. Plus, I'd be wasting the neck I have (and I can't really sell it; there's no easily accesible market for such things). And yes, bulky heel elimination is very much the point of it all.

I've heard that glueing a bolt on neck in its pocket would be sufficiently strong to hold it there, but I'm wondering how it would hold up if I was to try and shape the heel like a neckthrough (or even worse). I doubt it would work, but I'm not sure. So what I'm trying to ask is 1. Would it work just glueing it in there? 2. What could be done to make it work? One idea that popped up in my head is to rout out two channels in the neck, parallel to the truss rod, and glue in quartersawn pieces of some strong hard wood, and then glueing those into corresponding routs on the body (and glueing the neckpocket, obviously) and then shaping it. But I don't know...

I have done exactly what you want to do, and I found the proper wiring diagrams on the EMG website. They've redone their site since then, though, and I didn't keep the PDF.

I'd say that kind of wiring is great for a guitar you only use in the studio. Trying to move all those knobs to switch to your lead sound after playing some rhythm stuff for while, well, good luck.

D'Addario 11-46 (or is it 48?, can't remember) in E (previously Eb) and D'Addario flatwounds 13-56 in C (fattest gauge I could find, feels strange to play flatwounds, but I need them for the tuning). I don't have a problem with breaking strings, except for the guitar that's in C that's always breaking the high "E" (that would be C) when I initally tune the guitar. I had problems with the strings slipping in the tuner, and the things I did to fix that made the tuner snap strings when there's too much tension. I don't really see what people mean by strings lasting this and that amount of time. I've had the 11-46s on that axe for I don't know how long (at least a couple of months) and they still sound the way I want them. The only time they sound or feel bad is when they're very new. For acoustic, I use whatever my dad gets when I ask him to buy a replacement string because one snapped. So there's probably a whole lot of different strings on my acoustic.

Since the first question seems to be solved, and I have a related question, that's not really important enough to have it's own thread, I'll post here.... Is it feasible to make neckthrough acrylics with wood necks? IE, can you glue acrylic to wood?

If you want the wax removed from the shirt, I think it works to put it somewhere really cold (like a fridge/freezer/whateveryoucallit). Then the wax should break of.

What I'd do with the control plates is to remove the switches you don't need (unless you're buying the control plates premade, then just leave the switches there), and completely skip the lower right one, or move it into the lower right of the pickguard, so that it is a *part of* the pickguard (like the other metal plates), instead of being a separate piece *on* the pickguard. About the soldering problem when mounting the neck pickup in a way that makes you remove it when removing the neck, just put some connectors on the cables. Like the connectors you'd find in a computer or something. I like the design, and the wood choice. So now I'm just waiting for a pictorial of the building process.

Ok, that, I think, concludes this session of asking questions. Thanks alot for all the answers, guys!!! And thanks for your patience! I guess I'll revive this thread if I need anything... Once again, thanks!

Nope, I live in Sweden. What is sanding sealer and what does it do and how does it look/behave?

Lol. Hearing that from someone who makes absolutely truely beautiful guitars everytime......

I thought it was milk specks (like after someone laughing with milk in his mouth) on a black kitchen floor. That's a really interesting idea. Problem is though, what happens when it really starts to rain? Looks great!

I'm generally not a fan of swirls except for that "Hey here I am look at me ('cause I will burn your eyes to death)"-type of look. That one is a really good looking neutrally colored swirl. I wouldn't even mind owning a guitar with that paint job (and that's not something I'd say about "your average swirl"). Good job!

I've been following this thread, but I can't remember this has been asked, so I'll ask. Approximately how much do the components you put into one driver cost?

Yeah, as KI said, my English is not what's stopping me, it's the actual weird names. The info that's been given has helped a lot so far. A few more questions though. 1. Is the grain filler and sanding sealer you guys mention the same thing or are they different from eachother? 2. This grain filler/sanding sealer, could you use what you use in most other types of woodworking or are there any special requirements? Minimal shrinking seems to be something you'd wish for. Anything else? 3. Any requirements on the solvents in the paints? Oh, and the CA glue you mention would be what's in Swedish called "cyanoakrylat-lim". I'd like to thank everyone for taking the time to help! It's very much appreciated!

I'll just bump this once. If it drops again, it's dead.

No, not for me. But I guess that's one of the pics in the auction, and I've been there and seen it. But, no, it doesn't show up for me.

Yeah, the upper on is what I've got, except mine is black.

If that's a Floyd 2, either it has had a saddle replacement, or mine has. My Floyd 2 has saddle assemblies that hold the ball end of the string, leaving you with no need to cut ball ends, but not superb tuning stability. But that's really all I can say.

Because veneer isn't thick enough for binding.

I've got a guitar body made from birch that needs painting now. As it is, it's just the wood, plain and unfinnished. What I want in the end is a dark green solid color. I want to apply the paint using a brush. Now, what steps need to be taken to get the wood ready for finnishing, and what layers of finnish need to go on the guitar? And, for the "(and language)"-part of the thread title, I'm from Sweden, so if you say I should apply some, let's say, "grain filler", that tells me about as much as if I'd ask you to go eat a "bläckfiskarm" or "ålöga" , so if you could describe what the purpose and characteristics of everything that would be greatly appreciated. The only things I've really understood and could do right now are applying the color coats and the clear, but I would think that something needs to be under that, right?

Well, you could always give a hard time about not actually managing to say you were a VH wannabe....

Have you ever heard Opeth? You think their tone is bad? What about Iced Earth? In Flames (both pre and post RtR)? Dark Tranquility? Grave Digger? Iron Maiden? Keep the language clean, btw. And about the bridge being mounted in the same piece of wood as the nut, well it's already been said but I'll say it again, that usually isn't the case.