ryanb

Somewhere in the 700F range is right for most of this type of wiring. For beefier stuff (like soldering to the back of pots) you may want a little more (800-900F). It doesn't matter a lot. These aren't particularly heat-sensitive electronics ... and proper technique makes a lot more difference.

Slitting saws come in virtually any size down to about .006", every 0.002" or so, including 0.023". They are sold by any machine shop supplier. They are normally used for cutting metal in a milling machine, and you have to have the right arbor to put it on (and something you can put it in ... like a milling machine). For an example, try http://www.mcmaster.com/, search for slitting saw and look at the second page. The Ebay one you mentioned is a slight variation of the same thing used by jewelers. (Jeweler supplies have them too.) You still have to have the right arbor. You really can't just slap it into your table saw.

+1 It wouldn't work and it would be very dangerous. A 6mm flush trim bit should be quite easy to find. Just do a web search.

Either the WP25 or the SL325 should serve you well. You can't go too wrong with a Weller. Anything in the 25 to 40 watt range would be good for guitar work. The rest is technique. If you are going to be doing much fret work, you might want the 40 watt.

Most likely it will work fine, but you need to find out first by trying it on scrap and see what happens. BTW, if the fumes from Varathane are bad with your "mask" on then you are either using the wrong respirator or you are using it incorrectly. You shouldn't smell anything at all. Make sure it is sealed well and you are using the right type of filter cartridge.

I agree. I can't see any benefit to this over just moving the saw -- though it can be done. It'd be pretty dangerous and harder to control. I absolutely hate jigsaws, and will only use them as a last resort. (I am fortunate enough to have better options though.)

Yeah, avoid the table saw thing if you can. I have done that a number of times. With a powerful saw, dragging down the motor isn't so much of a problem, but it IS quite dangerous as far as kickback. The blade tends to get pinched (the wood often curves after being cut) ... especially when making the second cut. When it kicks back and throws the piece, you will understand the warning. (It's amazing how much a running saw blade can bend!) Not to mention that you have to be really careful of your fingers with small pieces. You can't use the stock splitter/guard since it isn't a through cut. If you happen to have one of the replacement splitter devices (that works without the guard), this would be a good time to use it. You will also need a zero-clearance blade insert. As mentioned, you can normally only get 6" this way. Almost every (non-benchtop) bandsaw can cut that thick, so resawing on the bandsaw just makes more sense usually (if one is available). If it's over 6", you can't make it through anyway on the table saw. (However, you can cut as much as possible and save a lot of cutting with the hand saw. It's a lot easier to just finish the cut by hand -- using the existing kerfs as a guide.)

Acetone would do the job easily on celluloid binding. If you have ABS, you need a solvent for that, which can be obtained in a number of places -- or just go to the hardware store and get some ABS glue, which would work quite nicely.

The process isn't any different for that part. The RG shape is actually one of the easier ones (other than a completely flat top) -- it could be a lot worse. You just need to find a way to follow the top that works for you. If you can't do that with your regular router, one option is to use a laminate trimmer with a smaller base. Some people use the Stew-mac attachment for a Dremel tool to get a very small base (though badly underpowered for that job). You just have to get creative.

Use a belt sander with silicon carbide paper. You might want a little water too. That's a poor-man's version of the way they do real polished edges.

Not permanent is probably un understatement. It won't last long without some covering. But if you are happy with that, you might as well give it a shot.

If the crack can be opened enough to get Titebond down into it, use that. Otherwise run the thin CA in there like you suggested. Clamp it up, let it cure, and you should be fine. You shouldn't need to do anything more than that.

Doing it with a hand saw in maple is a real chore... especially if you only have a standard crosscut saw. A rip saw is what you need and makes a huge difference, but it is still a lot of work and takes some skill. The other way is to spend a pile of money for a 18" (or so) professional bandsaw designed for doing resawing.

Nice link, Southpa. It's hard to tell from those pictures, but it looks like the whole headstock could be replaced with a new scarf joint (and maybe a little extra wood repair). It looks pretty doable. I'd try making a new headstock before replacing the whole neck. This is one of those perfect guitars for experimenting. Give it a shot. If it doesn't work out, you can always replace the neck later.

Shell dust is abrasive to the lining of the lungs, and a mucus covering forms around it. The dust is trapped in permanently, and over time can lead to difficult breathing and decreased lung capacity. Be safe and use a mask and/or a vacuum when cutting shell to control the dust.

+1. That would be a VERY neck-heavy guitar. Doesn't sound like much fun to play.

I'll be sure to ask for them next time I'm in an hardware store They are usually located between the left-handed screwdrivers and the metric adjustable-wrenches in the hardware store.

Wow, another great inlay, Craig. Seems like I have seen this before. Did you do another one similar to this? Deja vu.

Apply heat to soften the glue (like a soldering iron on a piece of brass or something to spread the heat -- or maybe a heat gun). Then you can gently pry under the inlay with an xacto knife or something. This will damage the wood slightly -- but on ebony or rosewood it isn't too bad and can be disguised/repaired well. That's about the only way to save the inlay. If you don't care about saving the inlay (or if it's just dots that are easily replaceable -- or if it's a maple board), just drill out part of the inlay and cut/pry out the rest. The cavity will be undamaged.

Because it's a coherent, structured narrative, well-illustrated, well-written, and will save many of those 100 the hassle of answering a number of questions that the book covers very well, often in great detail. It also provides a solid basis for understanding guitar making, and makes understanding the advice freely given a whole lot easier. My 2 cents. Well said. Maybe Hiscock should pay you to put it on the back cover!

+1. You could probably make it work, but you would have to make sure that the Floyd nut didn't screw up the strings breaking over the standard nut in the right place. You could create a nasty buzz and assorted other tuning problems really fast that way. The Floyd nut would probably have to be mounted a bit lower. But I don't know why anyone would bother, when it is more work to create and more problem-prone.

A full-length tapered shim is the best way to do it, since it doesn't leave any air space. The gaps, among other things, can sometimes lead to developing a hump at the end of the neck over time. Making the shim is actually pretty easy. Rough cut out a wood blank (on a bandsaw or similar). Double-stick tape it to another wood block, belt-sand it to the proper thickness and taper, and pop it back off of the backer block. Works great.

The neck will move andd will require setup changes, but it should otherwise be fine. Let it acclimate, then adjust it as necessary.

Cut off the bulk of the wood clamping block. Then sand/scrape off the rest back down to your veneer (carefully) and see what you have. You still may not want to keep it, but you have nothing to loose by looking except a little time.

Don't do anything. A small difference in spacing won't make any noticeable difference at all (except in looks).