daveq

So what about the stewmac bit - is that small enough for what you wanted to do? If anyone knows where I can buy a similar bit for less $, please let me know. They are very tough to find in sizes smaller than 3/4" (depth). Derek, I don't know how to help with the bushing issue but I'd be willing to help find cheaper/smaller pattern bits if you're interested in going that way. Dave

I think I know what you mean. It is very hard to find pattern cutting bits that are small enough. Stewmac does sell them if you are willing to pay the money. I've been using the 3/8" pattern bit they sell for just about everything - I don't remember what the cutting depth is but it is small. Porter Cable makes a very small pattern cutting bit but I can't find one for sale in any stores where I live. Good luck with the template conversions. I don't think I can come up with anything that you haven't thought of already.

Thanks Scott, Do you do the final shaping (matching the outline of the body) after doing all of this?

Do you know of any software that can read that file other than Corel? I have Paint Shop Pro but it won't read that file.

I think he's saying that you could just use a pattern cutting bit instead of using the bushings with a straight bit. I could be wrong though because the pattern cutting bits are not $10 (at least not the ones I buy). I get the impression that this is not the path you wanted to take since you wanted to make use of the bushings you just bought. Maybe he was saying that the price difference would be $10 between what you paid for the bushings and what the pattern cutting bit would have cost? Why do you want to use the bushings instead of a pattern bit?

I personally don't care for headless guitars - the headstock design of a guitar is the first thing I look at. To have one without tuners would look pretty strange though but probably better than none at all. I also don't care for the look of the nut on that speedloader. I know the original locking nut isn't exactly invisible either but the speedloader nut just attracts too much attention to it in my opinion. I have no doubt the same was said of the original floyd bridge system when it came out though. Once again, I sound like a grumpy old man - this probably belongs in the soap box section. Floyd Rose - please don't take away the pegheads/headstocks from our guitars !!!

Scott, can you provide a little info on how you bent that top to fit? What did you use to steam it, how did you hold it down, ...? thanks, Dave

What did you use to steam it? Did you clamp it to the body to get the shape right? How about the outline shaping, is that done after steaming, gluing, ...? Thanks Scott.

I've been looking around at various manufacturers to see how they handle the arm rest on maple top guitars. It looks like PRS uses a very thick maple top and they just carve it to about 1/4"? at the sides. Others use a paper thin veneer and just carve the arm rest like a normal solid body. Lastly, some just don't put the arm rest in (Peavey Wolfgang, some Jacksons,...) and leave it flat. I don't like the feel of a guitar that has no provision for the arm rest area. I have a 3/8" thick top I'm planning on using - do you think that's thick enough to get a good arm rest curve? I noticed that the guitars that have real maple tops don't seem to ever go very thin where it meets the back piece (usually 1/4" or more). Is there a reason why you can't go to something like 1/8"? I realize you will lose the figuring if you go too thin, but I'd think that 1/8" should still be OK, right? Anyone have experience doing something like this?

As for the fret bender - I shamelessly bought the stewmac bender . I barely have time to build guitars so I figured I would spend the $ and use the time for building the instrument. I realize it is overpriced - I really do. I do, however, have great peace of mind knowing my fret wire will be bent properly and accurately every time (that's not to say Brian's won't give you that also) . If you can swing it and have as little time as I do to build - I would recommend it. If you're looking for something to build then screw it - build your own. Sorry to get off the topic a bit. No Les Paul plans here.

I have used the stewmac hotrod truss rod without any difficulty. Just route a straight channel, plop it in and that's it. Knowing how to adjust it may take a little reading later but well worth it. Without one you may be left dealing with poor action, buzzing, and possibly not being able to play the guitar. It all depends on your skills. I was alittle worried about the whole truss rod thing when I started but it is really one of the simplest parts of building the guitar (at least when using the hotrod). The hotrod does not need anything other than the straight channel. The only thing you need to work out is where the rod should end (just under the nut usually). Plan it out so you can access it with a wrench. If you have any questions on it, let me know. Dave

I apologize if I'm telling you something you already know but I want to be sure before you spend any time/money on this - you are definitely holding the piece on the outfeed end as it is cutting and not the infeed, right? If not, this could cause something like you have described, but not exactly. Good luck - nothing like a good joint er

For the body? I think a two-piece body blank usually runs around $50. One piece is probably around $70-$80 if you can find it. Neck blanks are a different story.

For both ends to have a problem, both tables may be screwed up. Make sure you are placing pressure on the out-feed table once the cutting is under way. Other than that, I'm not sure what else could be going wrong. You probably already knew that, but I wanted to mention it to be sure. If the problem is severe enough, you might be able to see it using a level on each side of the jointer. If it is a slight mis-alignment, you probably won't be able to see the difference on a level. Maybe it's time to spend some big $$$ on a new one?

What is the problem you are having with it?

If you have a strat lying around, the spacing will probably be the same - otherwise, I'll try to measure it this afternoon. I have the formula from one of my books but I was hoping someone would be able to measure a guitar with a 1 11/16 nut just to be sure. I'm working on a template for building future necks so it would be a real bummer to get it wrong at this point. Thanks, Dave

Could someone please verify that the fretboard width at the 23rd fret should be about 2.25" for a 25.5" scale neck? The string span at the nut is whatever the R4 locking nut span is (I can measure if you need it). The bridge span is 2 3/32. Assume 1/8" spacing for each side. I think this is all standard stuff, I just need some else to verify this before I go much further. Thank you very much - Dave

The numbering scheme is pretty crazy. There are at least two R numbers that are used with a 1 11/16 width neck. The first (R3?) is for use with binding, I think because the string span is closer to that of the 1 5/8" width. The R4 is also for a 1 11/16 wide neck (at the nut) but has a slightly wider string span. The higher R numbers get even weirder. Each person I have talked to about the string radius has told me that the locking nuts are 10". I think the only nuts with a flatter radius are the R7 or around there. I don't know if regular shleps like us can buy them though. They might only be for the privileged few mega-builders. It's really confusing but the bottom line is that you should plan on a 10" radius (nut end) when using a locking nut. If you are using a Schaller Floyd - 14" radius at the bridge end. Original Floyd - 10" radius at bridge end. Dave

I noticed something interesting - The pieces that I cut all seem to turn brownish everywhere except where the blade came to rest on it (table saw). Normally, this would burn most wood but it seems as though it has a polishing affect on the purple heart. Maybe I can use a buffing wheel to polish it to a nice bright purple when I'm done? I don't think it's the piece of wood I bought since it was bright purple on each side from the lumber store. There must be something about the way I'm cutting it. The jointer, bandsaw and table saw all make it turn brown.

I tried that, and it didn't seem to make a difference.

If anyone here has experience working with Purple Heart, could you tell me how to preserve the purple color after cutting (if possible). I know it will change to a blue/brown over time if not protected but I'm talking about short-term. I noticed when I ran it through the jointer (6 out of 10 speed) it turned brownish red. Is that the best I can hope for or is there a way to keep the bright purple color when cutting this wood? Please remember, I'm NOT talking about what happens to it over time when unprotected - I'm just talking about cutting it and how it changes color during the process. Thanks, Dave

Brian, Just to be clear, the R4 nut still has a 10" radius where the strings rest. I don't know if using it on a 12" radius fretboard gains much in terms of helping get the action lower, maybe it does. This was one of the biggest stumbling blocks I had when starting out. The Schaller bridges (Floyd style) seem to all come with a 14" radius at the bridge. The Original Floyds are a 10" bridge. Stewmac and Warmoth sell them both with a 10" radius nut - it doesn't matter whether it is R2 or R4 - they are both 10" radius nuts. I think there is a flatter radius nut (something like R7?) but I don't know if they are available to the general public. For begginers: If you want the lowest possible action with a locking nut, you will need to pay attention to the nut vs. fretboard vs. bridge radius. I found out the hard way. Bridge shims are available to help deal with the bridge radius. There is no way I know of to change the locking nut radius (at least without it looking like a hack). Dave

I don't think these will steam out. I was worried about the glue with the stain also so I was going to look into some wood filler that is stainable. I'll give it a try and let you know.

I'm not sure that is true but I'm not using it for the neck anyway - just the fretboard.

I knew that worked with the darker woods but I thought it showed poorly with the lighter stuff? I'll try it on some scrap - thanks Scott.