Bizman62

That's already pretty close. Your new links worked and when I enlarged the images to real size or even bigger, the slot still looks fine. If you want to tighten the entire length of the slot, plain paper is an inexpensive option! Glued in with Titebond the tonal properties should be close to hardwood. Try dry fitting, I guess two pieces (max) of standard laser copy paper should tighten the slot nicely. Notice that the glue will swell the paper a bit so leave some headroom! Then again, we're really talking about a gap that is barely visible. When you glue the fretboard on, some glue will always seep to the slot. The moisture of the glue will also swell the neck a tiny bit, tightening it even more. And finally you'll have to put some tension to the rod to prevent the it rattling against the other half of itself! That alone will keep the rod from moving in a rattling way. And yes, if you didn't already know it, you should always put tension on the truss rod even if the action is perfect. Otherwise the flat bar will rattle against the round bar and the bottom of the fretboard. So, my advice is simple: Do nothing. It's close to perfect!

Your links don't seem to work, at least not for me. Silicone just doesn't sound right in a guitar. Most of the vibrations that create sustain and other nice tonal things take place in the neck. Silicone is like soft rubber, it dampens vibrations pretty effectively. You certainly don't want a guitar that says 'thump thump' instead of ringing sounds! Of course I'm exaggerating but you get the picture... I'd rather suggest you to glue strips of 0.5 mm veneer on either side, then wrap a piece of sandpaper over a piece of slat and fine tune the slot to fit the truss rod.

There's some points that really make a point regarding ergonomics, some other points are pointless yet dangerous in their pointiness! Are we reaching a point where luthiers are no longer needed since first-timers can build guitars that both look and play good?

Ahh, so you'll cut the end of the neck flush with the fretboard then? Anyhow, by looking at the pickup cavities and knowing their approximate measures I suppose I'm right in saying that the upper side of the pickup cavity is at least 8 cm and the lower close to 5 cm long. That's close to how a Les Paul neck is glued in, except that in an LP the pocket is much narrower. The glueing surface should be sufficient.

Doesn't the neck go under the pickup as well? That'd be plenty of gluing surface. If the sides are snug as I believe they are, you should be golden with glue.

I've seen necks with a >1 mm veneer as a fretboard, the frets been sawn to the neck. Obviously any truss rod has been installed from the palm side of the neck - if there's been any at all! Seriously though, as ebony is very hard some 5 mm should suffice. The rosewood fretboard on my Am Std Strat neck isn't thicker than that but the truss rod has been installed from the bottom side so there's some meat in the middle.

One degree doesn't sound much in the heel that's only a couple of cm thick and even less so when remembering that the holes on the heel should be loose enough so that the screw/bolt can easily be pushed through. Thus the 1 degree shouldn't be an issue on the heel. What's important is to get the threaded inserts just a hair towards the nut so that the end of the neck is tight against the end of the neck pocket. Even that can be fixed to a degree by loosening the bolts a quarter of a turn with strings on and let the strings pull any gap tight, then tighten the screws/bolts. That tiny trick can improve sustain remarkably.

After all arguments against the blue that looks stunning even on the photos!

It's resin, isn't it? It will sweat with climate changes as long as there's any left. It will also miscolour paint unless you can seal it. Knotting varnish is a common product for that, but for what I just read it's basically shellac so you can use that as well. You can speed up the sweating by applying heat, then scrape the resin off. A hair dryer is safer than a heat gun. When you've got the sweating to a tolerable level, scrape the surface clean and sand. Let it hang for a while to see if the sweating starts again, repeat the heating and scraping if needed before painting.

My Black&Decker has been doing the same since the very start. One reason for that may be how the blades are made. Some time ago I read about band saw blades tending to do similar things and aside proper adjusting the quality of the blade is important. It appeared that some blades are just die cut out of sheet metal with burr on the other side all the way. Remembering that I took a look at my jig saw blades. The old ones I had were just like that, no sharpening marks at all and the teeth splayed at one go so that the entire width of the blade was bumpy! The new ones were made differently (despite being cheap Lidl stuff): The blades were ground on the outside and the teeth were ground into the edge similarly to the shape of the Swiss army knife - no splaying, only ground grooves alternating from side to side. All that said I can't remember if the new blades do any better job than the old ones but they at least are machined instead of die cut.

Does your jigsaw bend on one (always the same) direction when sawing thick materials? Mine does, and knowing which way it bends helps sawing close to the line if you can keep the right direction - the bottom side will then be a bit larger which is easy to fix with a router.

As you already may have noticed, I'm curious about things like this and spend quite some time pondering... To the nuisance of others who'd like to go on! Anyhow, is this your only low angle plane? They seem to be less destructive on delicate or otherwise challenging surfaces. A scraper plane with a vertical blade might also work for the same reason. The effectively chewing angles on regular planes may not be the optimal choice in cases like this where tearing would mean a catastrophe. And I'm just guessing here, of course based on what I've heard, seen and done.

That looks and sounds great! But that was to be expected... The video as such is a great tutorial for understanding the pickups - neck, bridge, split, parallel, series, out of phase... That should be put somewhere sticky under the title of "pickup wiring options and how they sound"!

If they have an e-mail then that should work. Did you use their actual e-mail or the form? In either case, did you check your Junk mail folder? Also, seeing that they have an outlook.com address, I wonder if they looked into their Junk mail. If you mailed directly to them and your address contains the word 'naked' it may well go to junk.

I still love you.

Or that little, anyway an insignificant amount. The less than perfect square, a couple of wandering saw lines. Little things that can accent or counteract each other and can be adjusted by a minor change in the angle of the bridge. As I said, the guitar is an inaccurate instrument, full of compromises. It's always a tad out of tune for some chord no matter how well it's adjusted and that's part of its magic. Don't worry!

Sounds good. That much inaccuracy is possible even when crowning the frets, especially jumbo ones. You should have no issues with that.

Hakalan Puutukku, Lahti.

I guess I've found the answer: It's from the old French 'Goberge' which means 'Pollock' (fish) but also bed slats according to Wiktionary. It may be a corrupted spelling of 'écoperche' which translates to a scaffolding pole. Here's some pictures and explanations: https://www.popularwoodworking.com/woodworking-blogs/felibien-fantastic-goberge/

Whew! Your theory may be right. Then again wouldn't a wider-than-the-shank bit swirl the dust even more around the collet? Hard to tell, guess no-one has ever studied the aerodynamics of a router!

Ahh... I thought the first sentence would have hinted that way by asking "why is that called go-bar?". Hadn't I known I would have asked "What is a go-bar?" or "How does a go-bar work?". Guess I'll have to continue the over-explaining I've tried to get rid of.

That's what I've learned. Thanks.

Logically thinking, if all your frets and the nut and the bridge are of the same angle the intonation should be as perfect as with 100% square ones, consistency being the key word. The slot doesn't look like being too much off, though. Actually, looking at the quality of the cuts I'm tempted to say that your cuts may be off as much as the square you've made. Also, how accurately have you been able to align the template with the fretboard? Also #2 you may not be able to align the engineering square with the slot, a better method would be to put a snugly fitting piece of metal into the slot and check the squareness against that. All that said, bear in mind that the guitar isn't an accurate instrument at all! Look at the "true temperament" frets and you'll see them go all over the place!

I know what it does, I was asking why it's called that. I found a thread asking for the origin but there was no answer. Go go bars are a different thing...

Ouch! You can't get it tight no matter what! That's over third of a millimetre too thin! Or the collet is almost 6% too large! The angle bracket is a clever little outside-the-box idea!