Bizman62

Well, the first one up left looked nice as did the variation of it, the second from down left. Some battleaxe style in those. And the swastika style was somewhat interesting as well, the second from up left. Those three inspired me to draw a few more H's just for fun. The one you chose matches the grain direction which I find nice. It also has a 1960's vibe, you know spaceships and all the other technology related stuff that was believed to free mankind from tedious work.

Guessed wrong... But that one looks classy.

That's true but not the case here. Good addition for accuracy, though.

It goes to show that everything is possible but if one sees it once in 30 years or more the possibility for it to happen is once in a lifetime. Like winning in the lottery, 7 numbers out of 40 or whatever it is in your whereabouts... Someone always wins but there can be weeks between the big wins. Or, as happened to a friend, there were two coupons to share the second lowest prize of about 2.5 millions - and the other coupon was split into 50 shares! 24000 is a nice sum but it could have been a million...

As @curtisa said, it's about looks only. I've never thought about or even heard about worrying about the tang chipping wood. Now that you mentioned it, I can imagine that a stud of a tang might end up right at the edge of the fretboard which might be visible. It's common practise to cut and level the fret ends including the tangs after having hammered them in. If (rather 'since') your fret slots are a bit deeper it's also common practise to fill the gaps with dust and glue. Some people take that one step further and cut the tangs a bit so they can hide the tang ends with dust and glue. No right or wrong here. Speaking of fear of possibilities, I've always wondered if the tangless ends would curl up and cut your fingers...

Good thinking. The main thing is that you're aware of potential issues and have thought about how severe they may be.

That will push the neck pickup closer to the bridge which may remove some thickness and warmth from the sound. I.e. the neck pu would sound more similar to the bridge pu.

Clever!

That would have been exactly the word I would have started my answer with. @JayT, consider this confirmed.

It's a municipal guitar building course during wintertime in the town workshop, tutored by Master Luthier Veijo Rautia of Rautia Guitars

If I'm right, the 20-30 min drying time is for the poly to become stiff so it won't run. Way back I recall having used some rattle can paint where the label told to spray several thin coats with a similar drying time in between to avoid runs. At the class we were taught to spray the 2k "wet on wet", meaning that the finish had to be tacky but no longer runny before applying a new layer in order to get a thick uniform layer. If that was not an option, the finish had to properly cure/dry for a week or longer and sanded matte before applying a new layer. Spray can products can be tricky!

I suppose they wouldn't stand the downward pressure of the strings. Aluminium is pretty soft, even so soft you can use woodworking tools on it if you're careful. Making the base for the sliders should be doable if you have a circular saw with adjustable speed. Make a fence or two to guide the saw and run shallow passes. A router should also work in a similar manner. Both can be handheld or table versions. If you want to play it safe, let a machine shop do it for you with tools dedicated to the task. The brass pieces could be made out of a brass bar, hand tools should suffice. I suppose the base plate could also be made out of wood which could be tonally interesting but the pieces might not slide too well.

Logically thinking anything that evaporates does it faster when the temperature raises. @Drak already mentioned viscosity, which means the paint itself is more fluid when warm. Wasn't it you who mentioned keeping rattle cans in hot water to make the stuff come out the nozzle more easily and evenly? However, heating doesn't make paint any thinner, it just makes it more fluid. A thinning solvent is what makes cold paint more viscous which is why you should use it more in cold conditions. Thinking about pitch may help figuring or remembering this: As such it's solid to the point you can shatter a lump. When you heat it it becomes fluid so you can pour it over cracks in tarmac with a watering can and in a short while it will solidify. Yet you can wash it off your car with naphta which means you could make cold pitch liquid by adding a suitable solvent. And when the solvent evaporates you'll again have solid pitch.

That's not an excuse! Age is just numbers... Or maybe I'll change my mind during the next winter? As for rigor, it fluctuates. I didn't know the word before, then I connected it to 'mortis' which is a pair of words I know the meaning of. Even that is temporary.

In that case I recommend the 610 mm lengths from Madinter. Easy to bend to the desired radius and only two offcuts.

I just saw one, and the guy already had grey hair so he wasn't a newbie. And 'inches' in his case was exaggerating the distance! A quarter or half at the max both on the circular table saw and the table router! Scary as hell!

Why settle on mediocre when you can do perfect? There's two things for me to learn! Thanks for the heating tip, it totally makes sense. Hammering the posts in seems to squeeze out some sort of resin from the wood cells and after a while it hardens and glues the post in. Had I known the heating trick when I built the semi-hollow with the Ovangkol top...

No, basically just double checking that the fret wire sits tight at the edges and the center has some clearance underneath. The pre-cut pieces aren't too easy to be rebent properly which is why I prefer longer pieces. Then again, calculating the right amount of wire cut to five inch pieces can be challenging (don't ask...) as the combined amount should suffice but you can't join the leftover pieces to fill the last empty slot. The 1 kg roll I bought years ago was basically a good deal but I should've taken the wider wire - nothing wrong with the 'vintage style' narrow plus you get a longer stretch for the same price. But the difference wasn't that big and would have suited the fellow builders better. Looks like Madinter doesn't sell rolls any longer, then again the 610 mm lengths are pretty nice, two should suffice for one guitar. Maderas Barber has the 1 kg rolls in stock, 30-40 guitars from one single roll...

A very important lesson indeed! Get the next tighter radius fret wire or bend it yourself, R10 for a 12" radius fretboard and so on.

Pretty much so but the spelling is very different: Auts! v.s. Ouch!

double post

Yet another argument in the everlasting pondering the order of building. Pro: the pins are outside the finished neck; Con: you can use neither the fretboard nor the neck blank as a guide for a bearing router bit.

Exactly that, I just wasn't sure about the spelling of 'eeeeoooowww' so I typed 'twang' instead.

Your long clamps - the pair of 2x2's with a lot of holes - look interesting! How do you tighten them? It took me this long to figure out that the plastic bag with the text 'Bulbond' isn't your favourite candy!

There's basically no other rule than to make them low enough not to touch the strings. If you want to make them tougher and less prone to warping, you can laminate them of two or more pieces so that the grain direction of at least one piece is across the main grain direction.