FireFly

I did. Its very effed lol. It was a really stupid mistake on my part to apply neck angle before fitting the bridge in place. The neck is practically welded in place, so I'm gonna cut the neck out, make a new body out of a new blank, and go from there.

The neck angle is too far back. Recessing the trem will only make the problem worse.

I'll do thw steam with a putty knife for practice, then burn it in a trash can Hey, the parts in the guitar alone are worth the cost!

I figured it'd be a bridge mounted pickup like all the others. I never even thought about a pickup like a guitar's that picks up the vibration without a bridge transferring the signal... Anywho, on this project! I had it going pretty well. I was going to update it once I got all the hardware replaced with the proper stuff... Then I routed for the bridge, and strung it up... See, the original Kahler bridge was made to directly replace a TOM. I purchased a flat mounted bridge instead. It wasn't until after I set the neck angle that I realized my mistake. So yeah, I don't know how to break a wood glue join. I'm scrapping the project. I'll probably try again once I get another hundred or so to blow. This was a lot of fun to work on!

I was responding more to Sweedish Luthier's post. But you are right, Chris.

My dreadnaught guitar rings best on a C note. So the cavities do have effects. You actually tune a violin cavity when you carve it. There's a science to the arch of the top and back, as well as the height of the sides. If not tuned properly, annoying things like wolf notes, and dead notes happen. A properly tuned acoustic cavity in a violin can produce an instrument that fills a stadium with music without using any electronic amplification.

I thought bracing was to keep the top stiff because of bridge/string tension, regardless of the shape of the top. All my acoustics (flat tops) have bracing.

Good job lining up the holes! I see way too many crooked lines when people do those lately...

A good thing to do is apply a coat of finish to the guitar before you paint it. There's a tutorial on this site somewhere that shows the entire process. Basically: sand the guitar to 400 grain fill apply poly (3 coats, sanding with 400 between coats) primer paint (3 coats, lightly sanding between coats for adhirance) finish I think you can do this, and probably better than I could given your experience with building from the ground up, and finishing!

The bird sitting on the tuning machine is adorable. Just sayin.

I always like seeing your work, Chris! Its a big inspiration for me when I'm doing my repairs. Attention to detail, proper tool usage (the right tool for the job), and new jigs/ideas are what keep me glued to your tutorials, posts and youtube stuffs!

Glue under the frets to fill the voids helps with tone. Gibson used fish glue in the old days. I'm going to pretend they're mini sound chambers that also help with tone

I'll add a drop of superglue to each end of the fret after I've tapped it in, but I do it so I can add wood dust so the extra depth between the tennon and the fretboard isn't as noticable... not to hold the fret in... This is just me, but I've never been handed a guitar that had a fret fall out because it wasn't superglued in.

Molly appears to have become the perfect woman after all!