Thorn

A similar principal to a kalimba. The fingers act as tines. No worries about disrespect, it's just a bridge

Ron Thorn is also the only one dealing these. I wonder how many he actually sells. I offer them as an optional bridge on my SoCal line. So far, I've installed around 40 of them: http://thornguitars.com/socal-htm/socal-ga...-gallery-01.htm They can be purchased direct from the manufacturer, I do not sell them separately - no time/desire for that. They perform exactly as described and are far from a "sustain killer". The cubic area of wood removed from the body for the 2Tek is less than the total area for a standard trem/spring set-up. Cheers, Ron

The Custom Shop ones all have .055 gaps on ALL the positions.

That is correct, the blocks are two separate pieces with .055 of fretboard between them. RT

That's good to know Cliff, I'm sure you know the ones I'm talking about...heck, you wrote an article about one of them for HC about 7 years ago or so. I also wouldn't be surprised if you discover he does the same thing to you in a few years, be careful when dealing with "friends". Thorn

<<The incident with Ken "Yavcon" was the previous day (Fri) Soon I should be able to get a pic of the stolen guitar in the minaric booth before it was pulled, and the entire upper half of the body is identicle, and it's a VERY unconventional shape, I cannot believe it was merely a coincidence. It's a blatant copy. (I didnt take the pic- I'm waiting for the person to post the image, but he travelled quite far to get to the show- It may be a few days for him to recover and then get his pics up. >> Interesting, I had a near identical experience on Saturday with a couple of my inlay designs. Mark is really gaining a reputation, his father must be so proud. Thorn

The problem with inlaying any "faceted" precious/semi-precious/faux stone or gem is that they are "cut" to fit into a setting. What the setting does is allow light to refract on the back of the stone giving it it's brilliance. When you inlay the gem into a hole, you will lose all refraction and the gem will be practically dead looking. I've inlaid diamonds, rubies, even 35 necks for Fender that had over 60 cubic zirconian gems each. They never look as good as you would hope.

Here's a 3-ply nut I made for a National Tri-cone Resonator. MoP / Nickel Silver / Mop. The open note tones, used a lot with slide playing, are very bright and balance well with the fretted notes. I wouldn't use a MoP nut on a trem-loaded guitar, too much friction. Thorn

This is an older USA Schecter body, at least 7 years old before the import Diamond Series took over. This body has never been used, never had a neck attached, no bridge, no strap buttons, etc . The bridge holes have not been drilled so it will accept pretty much any Fender-type bridge, 6 or 2-pivot. 1/8" bookmatched flame maple drop-top over a 2-pc. ash body. Black aqua color with faux binding. 25-1/2" scale with a neck pocket of 2.180 right before the corner radius. Just over 4lbs in weight. It's in perfect condition, no scratches or dings. The thin finish is sinking into the figure, grain and pores as you would expect from something this old. I figured I would post it here since it requires a little more skill to locate/drill for the bridge and assemble it than your stock Warmoth body. Any questions, let me know. $175 shipped in US. Thanks, Ron

Good looking layout. You might want to draft the string spacing at the bridge and nut...your 2" heel width is a little narrow. Ron

I did that same inlay for him in red corian too. Sorry, I don't have any pics of it.

I used the old Charvel method on this one...a little Watco natural before sealer. The 3D effect sure didn't get locked at all...like waves rolling in as you tilt the body. Thorn 113

CA on most everything I inlay. The only time I use clear epoxy (amber actually) is on maple fretboards to avoid ghosting around the inlay. I'm not taking about gaps, I'm talking about the CA wicking into the endgrain and darkening the maple around the inlay, leaving a slightly darker ghost around the inlay once leveled. The thicker epoxy doesn't wick as deep. On a side note, at an inlay seminar put on by Larry Robinson about 15 years ago, he had an inlay sample that had been in a fire. It was a large piece of rosewood with a hummingbird inlaid into it. The sides of the rosewood were all blackened and charred...yet the inlay lost only one feather from the heat. This was his proof that CA could hold up to many extremes. I don't know Cliff...I've inlaid over 30,000 blocks of pearl and pearloid into Fender Custom Shop bass necks alone...I think I've got you beat Ron Thorn

I've got one that I use for the concave surfaces inside of hollow and semi-hollow bodies...it works great for that. I'll also pop two of the rotating discs off and use only one for getting into tight areas. Thorn

What is rarely mentioned is how much of the extended tenon gets routed away with the neck pickup rout. Between the heel and the portion between the pickups it is always reduced down to 1/2" or so. I'll stick with a properly fitting joint that stops at the back of the neck pickup rout. Thorn