guitar2005

mmm...one guitar has been okay with basswood...oh,well that certainly makes up for the hundreds or even thousands of others that had issues... Of course.

I tried breaking one of my scarf joints as an experiement and the wood just bounced back even when I jumped on the neck. As for non-scarfed necks, I've had one break without me trying to break it I use a 10 degree angle and that works just fine for me.

The new tune that plays on the radio is mediocre at best. Starts out lame, the singing is formulaic and when they kick in with the heavier part, it is completely un-original. The guitar solo is one of the most un-inspired solos from Kirk yet. Sorry, but I won't be buying the album anytime soon. I still listen to Ride the lighning, Master of puppets and the black album though. Never liked the production on Justice but they were doing a lot of experimenting on that album. The new tune sounds like they're trying too hard to regain their status as a metal band.

How do you know its the guitar? Radio signals can get through where there is too much capacitance in the signal chain like a dirty connector, a broken cable that's still conducting but on the verge of breaking, dirty pots. It can also be caused by cheap guitar cords etc. If you plug in directly to the amp, do you still have the problem?

I do this on all my guitars. The fall out/off is slight though. Barely the thickness of a piece of paper at the very end of the fretboard. I don't have my feeler gauges at the computer so I can't give you a exact measurement. Let me know if you're interested and I'll get you some actual values. I usually build the fall off into the fretboard and its only on the last couple of frets, usually never gets to the 15th fret. More like 17th fret and after. I can get lower action by using this building technique and I can also get wider bends without fretting out. This is definitely something I'll keep doing as the advantages are there. I'd rather take the materail off the wood than the metal frets. I tried perfectly flat and a slight fall off makes a world of difference, for me at least.

For intonation work, something like a Korg CA-30 simply won't cut it. You need something accurate to +- 1 cent like a Korg DTR 1000/2000 or a peterson strobe tuner like the strobostomp. Anything else will absolutely not give you proper results.

My 1987 Jem is made out of Basswood and I've had no issues with the trem posts whatsoever and I've used the hell out of that thing. I don't see a problem with the use of basswood. If the post wasn't snug to start with, it only gets worse from there. If it was tight at the factory, there should be no issues. The posts are an easy fix with just a bit of epoxy.

Good luck keeping that thing in tune. Metal is real bad when it comes to temp changes, particularly aluminium.

Yes, that's exactly the case here! The neck is surprisingly good - I've just gone over it again in detail and I'm very pleasantly surprised! Not the highest grade of maple by any means, but a perfectly servicable neck. Lovely and straight. You just know that the cost has been kept down by using realy cheap wood for the body (it's very light, maybe some kind of ply of different types??),Asian no-make parts, and replica castings of the bridge etc, but the real saving has, of course, been on the workers wages. That's your biggest overhead right there. It can all be remedied. Baking soda and super glue? Not familiar with this one yet! (I understand the rest of the procedure obviously) Ah, just done some internet research on this. So, do you feel a repair in this fashion would be strong enough to support the bushing during operation? (Bear in mind I'm a big Vai fan so I do plenty of serious whammy abuse!!) Thanks, DJ I would consider getting real Ibanez posts and an Edge Trem. How much are you willing to spend on this?

I've used cocobolo, ebony, wenge and some african wood called sheduah. I really like how the Sheduah fretboard has come out. Its a nice wood to play on and looks good and is awesome for rock. Cocobolo has more of an ebony feel to it. You can buff it up to a great shine and has a nice clear attack. Great for fast riffing. The wenge necks are completed yet but from working the wood, I think that they'll between maple and ebony in terms of feel. In terms of tones, I don't think fretboards have a big impact. They do affect the overtones and the attack - Does that make sense? Harder, Denser wood seem to have more attack and more punch. Softer wood have a mellower top end with a softer attack. In terms of attack, it like the difference between an Alnico and ceramic magnet pickup. I've got some amazing birdseye that I'd like to use but I have to find a way to plane it down. I'd love to get a thickness sander but they're expensive and I don't have the cash for one I might try one of those drill press sander thingies.

Wow! Is that really how it was delivered from China? What a ripoff.

I used duplicolor clear for my Polka Dot Rhoads V. I think I put 14 light coats on. 2 years later, the finish is still soft, dents easily and when I play iit on my lap, the jean's fabric make an impression into the finish. I called Dupli Color about it and they were surprised I put on so many coats on, that's all. Anyways, I'd stay away from this stuff. I'm making a new neck for the Guitar. When I disassemble it, I'll try to remove as much clear as I can without going through the white dots.... but doubt that the results will be any better. As for grit, I would never start below 600 grit. Can you wait too long before the polishing process? No.

From wayne guitars? The Ormbsy GOMD would be my preference but nevertheless, this one is real nice.

http://www.wayneguitars.com/guitars/in_sto...-rl-rivets.html

Yup, I use a bit of white tempra paint to lighten up my epoxy mixes. Works fine for me

All of my neck have a slight amount of fallaway past the 15th-17th fret to accomodate wide bends with low action without fretting out. Its milled right into the fretboard. The rest of the neck is dead flat and if the neck ins't too stiff, the string tension will add a bit of relief. if not, I typically induce it with a 2-way rod.

If its already snug, don't use epoxy, go with the glue instead... or a sliver of wood as others sugggested.

My rule of thumb is don't glue the frets in, unless you have a problematic one. On new necks, I seem to only have to glue in frets where there's inlay material spanning multiple fret positions and the fret doesn't have wood to hold on to. For refrets, I find that a bit of glue will help for some slots but it doesn't really help in terms of getting more re-frets for that board in my experience. It doesn't really seem to help with chip outs on fret removal either, but that could be a problem with my technique I guess.

You should never have to remove the inserts and if you do, a bit of heat is all you need to loosen up the epoxy. I suggested epoxy because it will grab onto metal (somewhat) and can fill gaps.

Get a marshall DSL head, engage the deep switch and you'll have all the bass you'll ever need with at least a 2x12. You can always add a bit of reverb/delay to fatten up the sound too.

Just put a bit of epoxy in there and you'll be fine. I had the same thing happen to me on my last build.

Double check with an ohmeter to see which pins are connected to each other and when. It really depends on the type of switch you have i.e. DPDT, DPTT, SPDT etc.

That is typical of cheaper barrel jacks. They almost always cut out and give a bad connection. Using sandpaper on the jack will only make things worse. I would replace the jack with a high quality one.

Same here. When I first saw the Gordon Smith, I thought to myself, I have a long way to go...

Me love! Please finish it natural.