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Everything posted by guitar2005

  1. I've had this happen around volume controls. I think its a combination of water and pressure while wet sanding and buffing. I've fixed this with lacquer thinner on the cracks, applied a few times, let re-cure for a week then re-spray another coat and fill in the areas where the cracks were.
  2. I'm fixing an older acoustic guitar that need the headstock to be redone. Its an older "Morris" brand guitar and I'd like to have a similar looking logo after the repair, which includes a new headstock overlay. Does anyone know where I could get a one-off decal that would match the original? It looks like this: https://www.aprilwine.ca/blog/i-collect-morris-guitars/
  3. I accidentally used a waxed shellac and when I realized my mistake, I lightly sanded it and I added 2 coats of dewaxed shellac over it, then sprayed the lacquer over it, I just hope the lacquer doesn't peel off because it would be a lot of wasted time, effort and money. So far, on the headstocks, its seems pretty solid but I'm not sure about the bodies with more lacquer layers. Maybe the adherence isn't great because its still fresh? It seems like the dewaxed shellac coats should be sufficient for proper adhesion, but I'm not so sure anymore.
  4. Yeah, I like to use shellac to give the wood a nice hue and it also acts as a sealer and partial grain filler. This is the first time I mix my own shellac. I used a 2lb cut and sprayed it on. I just wasn't sure anymore whether lacquer would work over it with no sanding. I haven't sprayed lacquer in a while.
  5. Do you guys sand a dewaxed shellac base coat when topcoating with Lacquer?
  6. It does depends. On tight, closed grain wood, 180 is what you need to really get that color in. On something like Korina or Mahogany, 220 works well. Sanding to 500 or 600 is a waste of time and the stain or dye will not take as well.
  7. 600 is waaaay to fine for staining. even 220. I rarely go finer than 180. You want to keep the pores open.
  8. Not sure I follow.... Before getting into the other issues, let's just focus on one, fix that and move on. Does the humbucker still hum/buzz? Did you add that brass plate?
  9. Yes, the brass underplate will help you to get a proper ground. You will run a wire from the plate to the ground on the tone/vol circuit of the humbucker. http://www.stewmac.com/Luthier_Tools/Tools_by_Job/Tools_for_Bridges/Plate_Mate.html They are easy enough to make yourself. Also, keep in mind that you'll need a small cutout or hole on one side for the piezo wire to come out.
  10. I have worked on the Godin Piezo & Electromagnetic combo in the past and they're pretty straightforward. You will need to get in touch with Godin and ask them for the A6 Ultra wiring diagram. That should help is determining how its supposed to be wired in the 1st place. The A6 has treble/bass controls for the humbucker, which I believe are active. My guess is that the pickup was not installed properly with the tone/volume pot. Really, why do that when there's already an EQ on-board? Do the vol/tone only affect the humbucker? If yes, you could add a brass underplate under the bridge and ground that to the vol/tone pots.
  11. As Scott said, carefully scrape that off. I would try to apply some kind of clear over it when done.
  12. You're not entirely wrong. There's more to it than just that. For example, changing string gauge can affect intonation.
  13. I would not use CA to fill the cracks. I've always used a good quality Epoxy. Apply it generously over the cracks and heat it with a heat gun or hair drier. The Epoxy will seep in and it will become very solid.
  14. For a Genuine Floyd, the nut is not tapered and the "shelf" is 15.4mm.
  15. I had that happen to me on an acoustic guitar repair (delaminating fretboard). After hours of frustration, that string broke, I replaced it and voilà! The problem went away. BTW, when you say "1st E string", that ambiguous. If you say high e or low e, its foolproof.
  16. On the Ibanez bridges, you can set it up so that the scale length makes it to the middle of the saddle range. Then, you have to figure out how to setup the posts compared to that. Ideally, you'd have an example you can copy (easiest) or ask Ibanez for a drawing of the tremolo (probably hard to get), or maybe find one on the 'net. Floyd Rose publishes routing diagrams and I'm pretty sure that the Ibanez Original Edge routing diagrams are available on the 'net as well.
  17. For years, I've been building guitars with tremolos and TOMs but never have I done a build with the ABR-1 TOM. This bridge has the particularity of having a little less saddle travel for the intonation and as such, I'm being very careful with the placement of the posts. The guitar will have a proper 24.75" scale length and the Stew-Mac calculator places the treble bridge post @ 24.811" (630.2mm) and an extra 1/8" (3.175mm) on the bass side. I usually just set the bridge so that the scale length makes it to the mid-point of the saddle adjustment, which means I rarely use the StewMac calculator for this. I mocked up the whole thing with a nut, tuners and a bridge with the saddles in the middle position with the high and low E strung up. I proceeded to do a rough intonation check and placed the bridge where it seemed to be perfect. I checked the measurements and I'm at about 632mm from nut to center of the post on the treble side and about another 4-5mm for the bass side. Why the discrepancy between my values and the StewMac values? The fret board is correct in scale. Could it be that I should not have placed the saddles in the middle for the setup? I always like to have enough travel room for the saddles. The strings are new and had the same result with different strings. I saying this, It is a little hard to get a good measurement from nut to the bridge post holes on the body since the neck is angled so there is a bit of an error there. Am I the only one to run into something like this?
  18. Nice take on the tele. For #2, I would strongly suggest you reconsider the Jatoba neck and body. For having used Jatoba extensively, it is very heavy and dense. I would do a Jatoba top but never an entire body.
  19. I'm looking for a spot repair and something that is as close as possible to the original factory finish so that they age similarily. Laquer will look out of place after a few months.
  20. My acoustic guitar fell the ground ground and the result is a big finish chip. I managed to fix the colour but I now need to apply some clear coat on it. The finish is some sort of industrial poly/urethane finish that has a yellowish tint to it. Any ideas as to what could work well for a repair? I'm thinking that a gel clear coat might work.
  21. I agree with the above. Try to get it nice and stable 1st with the least amount of deviation. On the other hand, 1.2mm deviation over 40 inches is not very much. On a laminated neck, you could use the part of the wood where there is the least amount of deviation, or none at all. One thing I learned in working with wood over the years is that every pass through a jointer, planer, table saw, rasp or any shaping tool releases some potential tension in the wood that could make it shift a little. The most important thing I look, above all, is grain. You need straight grain with little runout for a neck. You cheat a little on a laminated neck but the basic rule still applies.
  22. How is the relief with the neck installed and strings tuned to pitch?
  23. I'm not sure I understand your post. You want listeners to listen to identical guitars and ID the woods? That's not what this thread is about.
  24. This is the GoldTop P90 Paul/Tele experiment. I started this project simply to try different things like the metallic gold finish and P90 pickups in a Les Paul / Tele inspired body shape with tremolo. I built this one with the sole intention of experimenting different shapes, combinations and build techniques. I started out with a warped piece of cherry I found in the bargain bin of the local wood store. The build essentially started from there. I toyed around with the Tele and Les Paul combination before but this is the build that takes it one step further with the block inlays, carved top, tremolo, the finish, volume/tone control placement and electronics. I've had a lot of things I had to redo and fix along the way as it was the first time I did something like this and I changed my mind a few times along the way as I didn't have anything too specific in mind when this started. - The body is Alder with a hand carved Cherry top. - The neck is torrefied maple with a flame maple skunk stripe. The headstock is a traditional scarf joint and the fretboard is also torrefied maple with block inlays ala Gibson Les Paul Custom. - The tremolo is a Hipshot two point - Suhr P90 pickups - Bourns pots - Switchcraft switches and jacks - Schaller mini tuners - Tusq nut - Mohawk lacquer for the body finish - Tru-oil for the neck finish DSCF6672 DSCF6676 DSCF6688 DSCF6673 DSCF6681 DSCF6667 DSCF6669
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