GuitarGuy

You're using a different amp aren't you? ........Let the debate continue!

I'm pretty sure theres a heavy dose of marketing that adds to the tone folklore. (i.e. making up stuff that sounds scientific).

Mattia its all in your head! J/K I agree to disagree.

This is very similar to the nature vs nurture debate with children. You can't prove either way. You can belive anything you want to believe, it doesn't make it true. EVERY guitar I have made has sounded basically the same, including the pine guitar. People say It should have a lighter tone, it does not, it sounds like an electric guitar. Semi hollow guitars and hollow bodies sound different but that is construction not wood choice. Most hardwoods are relatively the same density baring some non conforming species. So the tones carried on those species are relatively the same. Objects have natural harmonic frequencies, but that is usually only one frequency which does not prove any advantage to an intrument that produces different notes from the same body/neck. I stick firmly in the camp that if you can't prove through scientific method that it exists then it does not exist or is too negligible to prove useful.

Thanks guys! So far I got a mastercraft toolbox. A set of quick grip clamps and a 1300 CFM Dust collector.

I think there may be a little confusion here. You will never cast a part that will be ready to use out of the mold. Anything made in a sand mold would require some kind of machining or another to get close tolerances.

Enco, grizzly, craftex, they all make various sizes. Buy the biggest you can afford. this is mine Mill

Its just a different grade. Some is cast some is cold rolled, aircraft grade etc. There's a whole website i found on casting a while back. http://www.buildyouridea.com/ I think the melting temp is about 1300 deg so a foundry is needed in some capicitance. But this guy has some wicked ideas on making inexpensive molds with a nice finish. Bingo! You will not regret it.

Not to mention perfect tuner holes, perfect templates, radiuses, etc. i have a jig that i use to make necks on the mill. It allows you to remove and replace the neck blank on the mill for different operations and still have it centered and parallel to the X and Y axis......no justification for a mill is needed. Oh and yeah will do on the play by play Mickguard.

Funny you should mention that. I'm making just that type of bridge. And I just got my powdercoating gear set up. Aluminum is soft but not too soft to be used for this kind of setup. I've been toying with the idea of carbon steel inserts on each adjustable saddle but its still a work in progress.

No C6 here....just a beat up 68 camaro. I was just puting that piece of trivia out there to prove a point.

Probably on par with the white pine i used for mine (I can crush the fibers very easily with my fingernail).....I still say with the right engineering anything is possible. On a side note the floor on a C6 covette is balsa and carbon fibre

My pine guitar is still holding up. So by all means try it. Balsa is quite strong for its weight. Who knows? laminated with some fibreglass. May not be that bad at all.

Ben you are a genius! I did a test run with the mill on a scrap piece of cocobolo. It worked perfectly! I can see an aluminum fretboard with wood in lays in the future. End view

You absolutely did help, thanks very much. I keep thinking the tip and not the centre.

I think theres another variable in there. R=7.5 (radius) r=.3125 (endmill radius) a= that little extra bit x^2+(y+r+a)^2=(R+r)2

Its not a cnc, although what you mentioned is called an offset and its exactly how it would be done in a program. THis is a manual mill im working with so im doing the cnc work manually. It seems like a lengthy process but with a digital readout its not so bad. You bring up an excellent point tho...now how to work it that way is the question.

Endmill is 5/8, and thanks for trying anyways.

Ok, what I'm trying to do is develop an equation that will let me calculate the y coordinates of the tip of a ball nose endmill and any point of the x travel. This way I can mill a perfect radius on the fretboard and repeat that with the frets installed. Heres a simplified picture of the problem. The equation of a circle is x^2+y^2=r^2 In this case r=7.25 (fender) Now that is the easy part. The problem is that as x grows, the point of contact moves from the tip of the cutter toward the x axis so if the tip is calculated using the above equation, one side will dig in. What im trying to calculate is an equation to describe the little extra that has to be added to the y component to keep the radius true. Anyone have any ideas?

The filler is not meant to fill voids as large as we're talking about here. It can lead to shrinkage that probably wont become evident until it has the finish on it. Not to mention milliputty is very hard. It would be an interesting routing experience cutting through that stuff. Considering the type of defect you would be filling and routing (a relatively large chunk of epoxy) i can see it coming out as one chunk. But I could be wrong. I guess my point is that it is always better to do it right then a patch. Yeah, that was a little abrupt of me, sorry.

100% bad advice

you just learned lesson #1 templates. Always make templates. If its a solid finish you can make a plug to fit it an re route it.

Lotsa luck man. Get that shop hooked up when you get there ASAP!

$40 is a wicked deal. Barely covers the cost of materials so he must be throwin it in with another car. I hope it works for ya!

The fact still remains that it is not designed to be used that way. And this guy is going to shell out about $100-300 for a paint job. I hope he doesn't waste his money thats all.