MP63

You can't get any bettre than the dust from the piece of wood you are inlaying. Just sand up some dust real quick. I am starting to like Crazy Glue dropped onto the dust while it's in the gap.

I have the fingerboard radiused and slotted. The maple neck blank is squared, ready for the fingerboard.

How about grinding the studs and screws a bit? No one sees that bottom end. You can also have the bottoms show like the Telecastar holes. Drill straight through with a wood backing of course, to stop chipping. I'm sure the holes on the Tele were taboo at one time, now people WANT the holes on the bottom.

What's better.... Shaping the neck before fretting? or fretting the neck with the neck square, then shaping? I have the neck wood square right now and thought how easy it would be to fret it now. Would fretting first cause the neck to bow after shaping? What ever has worked for you, let me know. Thanks, Mike

If I use Tung Oil and don't like it, can I use Tru-oil on top of it? Thanks, Mike

I found it...Thirdstone had it!

Some one made a Les Paul style guitar and finished it with a fade of amber on the edges. Anyone know where to find that post? Thank you, Mike

Buy several. The get cold real fast and they are cheap. Get several bottles too. I'd say about eight. be safe. I bought mine at a large hardware store. You may not need to go mail order. I liike them alot. Mike

Right now the edge is sanded smooth. I just didn't want there to be a lip after I am done. I know lacquer finishes go on the binding too, so I wondered if the Tru-oil would stick to it. If this doesn't work, can lacquer go over Tru-oil? Thanks for the advise. Mike

The neck has white plastic binding... Will Tru-oil work on the binding too? Mike

I have a maple neck that I stained with StewMac Amber stain. I used denatured alcohol with it. I like the feel of Tung Oil on the neck, but have not tried Tru-Oil. Any recommendations for a top coat for the stained neck? I like the smooth feel of tung oil or the like. Thank you, Mike

I have the curved one. It just makes more sense to me to use a cuved one for a curved surface. I clean it up after with a file and sandpaper. Oh, about the comments you think you might get...I understand. Isn't it easier to just give the advice, then to tell them to look in the archives? Good luck. Mike

Building all the jigs will take time and patience. I used a hand saw and cleaned up the joint with a chisel and scraper. Once I was close to the mark, I grabbed the pieces and sanded them with a whole sheet of sandpaper against a perfectly flat surface. One hand held the paper, whilde the other slid the wood while maintaining alignment. Itrimmed the wood after the glue up. The joint was perfect.

I grain filled with epoxy. I sanded and found some areas not filled. What is the best way to remove the dust that is left behind so I can use more epoxy and keep the epoxy clear? I wiped with denatured alcohol, but remembered that is what is used to clean tools of epoxy. The epoxy is now a bit dull. Can I use naptha? What's best? Thank you, Mike

Draw it out, full size on a piece of stable paper. Side view and top view. Get all the neck angles right with the hardware you will use. I had a local hardwood supplier sand three pieces of maple to 1" and I glued them up. Perfect, flat and ready to go. The only tool I used that is not too common was a joiner/planer. That gave me the perfect surface for the fingerboard and truss rod. You can do it by hand with a plane but you need patience. I drew my plans directly on the wood surface. Everything worked off of that. I used a hand saw (carefully) and smoothed everything out with chisels, files and scrapers. I sold my band saw as I did not use it as much I thought aI would and used in its place, a coping saw and jig saw. Worked great. Don't feel you need all the fancy, expensive tools. I had them all and find I am selling most. I don't do production, so hand tools worked great. I think you will get a better sense of acomplishment when done. Remember, they are tools not jewels. Good luck and have fun. Mike

Yup, that's what I meant. Holy smokes, that would be like a 50" scale! Damn, I need more sleep....

The quickest measurement is to double the distance from the headstock nut (that's the inner edge the faces towards the fingerboard), to the saddles on the body bridge. (the tips where the strings make contact on) THEN add about 1/4" for string compensation. That means move the bridge back about another 1/4" Quick and easy. Anybody want a try for an easier way? Hope it helps, Mike

I had to grind some metal from some hardware. How do I keeep the exposed metal from corroding? Is there something simple that can coat it for protection? Thanks, Mike

I believe it is rock maple. Their neck are a tenon joint. Hard to explain. I guess the best way to call it would be a set neck with a huge joint. Jeff Miller has a site that does a good way of doing a good neck joint that might be easy for a non-production shop. Although many don't care for this guy, Ed Roman sells a Rickenbacker style 12-string bridge that looks pretty nice. Rickenbacker sells a 12-string bridge, but you need to file the saddles. I have one of those bridges from Rickenbacker. It's nice. I have a couple of 12-string Rics. One is hollow the other solid. The neck is sandwiched between the sides, but the neck has a piece glued to the bottom as well. It is a Tom Petty model and the most beautiful guitar I have seen. Damn, they are nice; the inlay, bindings and wood. Everything. I can send you pics if you like. Mike

No, I am talking about steel string acoustics. I just gave the semi-hollows as an example of woods used. Maybe a better example would have done better. ALL help is welcome. Thank you guys. Mike

Hmm. Thanks for that info. I forgot about laminated tops. In a book I read, it had pictures of a New York builder who carved his tops and backs, but those were jazz style guitars, not 335's. My mistake, but they still were solid. Many suppliers sell large pieces of spruce and maple for solid back and sides, but again, for arch top and not steel string. Maybe the experiementation with different woods for tops have been done, (Gibson's older mahogany tops and martin's Koa tops) and it wasn't a success. I'll keep an eye open for different woods, but might stay with the traditional, as my budget and time doesn't allow for multiple variations. Thank again. Mike

Thank you Rich. I understand about those woods, but yet I see 335's with maple tops and steel strings with maple backs. I wonder why spruce wouldn't be used on backs too if it were the best wood. It is true what you say, but what manufacture's use sometimes puzzles me. Even in Martin's catalogs they explain the virtues of the finest spruce, but they also make the Koa top. Beautiful, but I have not heard one yet. I wonder how much is just because of tradition. I know how fickle the guitar field is. Anyone out there build a spruce backed steel string? Or solid wood tops? Thank for the help, Mike

I'm trying to use maple in most of what I do. I like its building ease and asthetic properties. Mainly, as I have no allergic reaction to maple and poplar. I have been buying only those woods and have a good stock. (minus the fingerboards and bridges and the like) It's an all-around, great wood. I like the crispness of maple acoustics, but those that I have played and heard have all been spruce topped. I wondered if there are any maple topped steel strings out there. I think that might be a project. Thanks, Mike

Anybody have experience with different top wood besides the standrad spruce and cedar tops? I've seen Martin and Gibson use Koa and Mahogany in the past. Those type. Thanks, Mike

I have a drill bit that is perfect for some bridge studs. About 15/32" I believe. The drill press is running slow today. What is the best speed for accuracy? Fast or slower? The wood is maple and mahogany. Thanks, Mike