liquid_gabe

I couldn't tell you the issue, but Shopnotes had an article on constructing a home-made version of these clamps a couple years back.

I know that pear is specifically recommended for fretboards in one of the several guitar building books I own.

Has anyone used these? As good as the name brands or to be avoided? Thanks

The new ones are junky. The spindle lock on mine stripped out about the 5th time I changed bits.

I felt exactly the same way before my (recently finished) first neck. It was so much fun, and came out so well, it was my favorite part of the project. I used a microplane rasp to shape around both ends and then a spokeshave for the length. I might have to build a two-necked guitar, it was so much fun.

Carvin will send you a DVD with some very cool footage of their factory. Watching their California carvetop model shaped by the CNC is pretty amazing.

Perhaps the LARGE sparks only happen in Texas? It was a while back actually, I was just about to throw out the router recently and thought to ask here. I don't remember exactly how it happened, probably a few sparks, but the whole process was very quick. There is definitely a peice missing from one of the brushes. My dilema is simple, $15 for the possiblity of fixing the Craftsman or $90 for a new Bosch.

I've had interesting results with a similar process, but I was advised to let the wool rust first. I used it on an oak furniture project. One coat turned the wood a nice grey, but I didn't try to do anything deeper. The smell didn't last long.

Interesting...

No difference? I can't say you are wrong, but it seems counter-intuitive. As you know, Jazz pickups have two poles for each string. I believe they were designed this way because the wider physical vibration of bass strings demanded it. If the pickup is a couple inches from the edge of the bridge, the string will be sitting atop the inner pole. The outer pole for both the E and G will be some distance from the string.

It could be worse... I've built the neck, with the taper set to match a hipshot B-style bridge I got from Carvin. As I'm getting set to rout the holes for the Fender Jazz pickups I just got I realize that the string spacing on the bridge is too narrow for the spacing on the bridge pickup. The pickup spacing is actually slightly wider than the bridge spacing, and I don't want it right next to the bridge anyway. So, as the neck must match the bridge, I guess I'm stuck with having to go a different route for pickups, either that, or make a new neck, widen the bolt-on pocket on the body, and get a different bridge. I guess I'm looking for pickup recommendations, or for someone to clue me in to a way to salvage my original plans. Thanks

I'm moving into the final stages of putting together my first bass. The body is basswood with a Padauk top, the neck is maple and padauk, and the fingergoard is maple. I love the open pored look of the padauk, and don't usually like the thick glassy look of laquer. In Hisock's book, he has one shot of a Wal bass he describes as finished in a hard acrylic. What might this be? Would it suit the whole insturment? The basswood is so soft I'd like a little extra protection, but a few dings wouldn't really bother me that much.

My laminate trimmer bit the dust a while back. I remember a spark and some smoke. Looking at the brushes, one was actually broken, and both looked quite worn. If I replace the brushes would the tool come back to life?

I'm installing a Grizzly Truss in the bass (my first). I plan on body-end adjustment. The rod is billed as 2 way, but while trolling this forum (or possibly MIMF) I remember reading that the rod is much weaker in one direction. So... which end up, the flat or the arched?

I ended up with a #5 also, but never managed to get it quite square. I prefer working with hand tools myself, but have a hard time being accurate with them.