low end fuzz

the absolutly correct thing to do is fill the holes and redrill (with dowel) but i would make some kind of sleeve to tighten up on the inside; im thinking like o rings or maybe an elastic, something to keep vibration or rattling from eventually loosening your stuff

seeing as nothing makes sense on that thing, its probbly the strap button

counter sink em in the front; 9/16 seems a lil thick for guitar to me; but thats why you mock assemble b4 finishing

+1 on the 6x48 spindle sander and disc sander works well if you dont have the combo; i tried hand held sander, and i used 100 grit; the problem is the holding part, its odd to give it enouhg downward pressure while keeping it flat and still paying attention ot whta your doing; fo ra last attempt i would throw it upside down in a vise

ah, you mean bass guitars

i was wondering that too; i was gonna buy an origanal badass with the solid brass saddles; just stopping and thinking about it, it would make sense that it was just like a nut; but look at bridges you buy that are slotted, its just enough for the string from sliding around, where the nut persuades the height and buzzes like crazy if the widths are skewed; so i bet if you got like a (?) .9 file and marked the enough to stop side to side movement it would work fine; but i wonder making them to string size would help even more; i definatly have more qestions, but i dont want to hijack your post grant

ah i see, 1 thing; are these just angles you think are gonna do it (2 degrees) or have you determined this thru the height of the bridge in compaarison to the height/length of the neck? as for the glue, im sure if you own one wood working book theyll show you a starved joint and too much glue; i put a whap of glue on my stuff and rub the 2 peices to and fro to spread it even and push it thru the wood fibre; its a little hokey but works; or a simple paint brush 1" when you do veneers there is some things to keep in mind; 1 actually, dont put glue on the veneer; and it dont matter that your brothers friends uncle chuck did it and it worked fine, its not proper; spread the glue on the neck and on the wing, and right before you clamp it throw your veneer in; if its possible have extra sticking out everywhere, this is because lining up veneers is tedious; there are ways just be creative. when i built one (i call it joe lado style) all of our neck pieces were roughly profiled with the angles prior to laminating the neck; now tho i would start w/ a perfect block and cut my angles prior to the fb (this is my o.o.o.(order of operation))after the lams are all together; so recap; square (kinda rectangular) blank; cut neck angle, plane smooth, slot rod, add rod, glue fb ,cut out neck profile incl. head angle; trimming etc to fb, ruff shape neck (keeping back from ''no go glue area'') shape both wings and any other routing you feel like doing now; glue on wings, smooth transition , final routing, mock up assembly; tweak errors (theyre there) final sand, finish. this is my o.o.o. i wrote it out so your not getting misleading info compared to another method of building; thres alot of ways to go about it, but i find switching paths even if it sounds reasonable is tramatic to the build, but youve planned alot, so i dont see you switching gears every few weeks; good luck

for the veneer, your best bet is to prolly throw it inbetween when you glue everyting; i would say thickness everything prior to glueing, but your still gonna have to level everything after the fact; remember you need to have a real flat suface for your bridge; i dont know what you mean when you start getting into the angles of the neck and body; but id prefer an angle of 10-12 deg. or making the head drop down so the strings are at a strong angle

hes trying to remove the oils from interfering with the glue; i guess; pointless i think, because the glue dries faster than returning oils, you just have to give it a quik sand (thickness or 180 something that sands without deviating the flatness) acetone ive seen used for slow curing finishes on oily woods (cocobolo) but never for gluing

who the hell works on saturdays? id go with 35" because it stretches the thicker string over a longer area making less flappy with better 'tone' i personnally like cutting the angle into the wood; i think it looks cool; but the flip side is the 'short grain' argument; whereas the wood (this is hard w/o pics) involved in the angle has very short grain lenght whereas a scarf joint is long grain thru the entire headstock (its even harder to write out) i have found all the technical aspects and $$$ pointing towards a scarf joint w/ a heel block but havent had any physical differences between the two myself

always lengthwise; if for no other reason, you dont want to be sanding that much end grain

this is all about preference; which you dont have if you havent tried multiple things; first off, critisisms 6 string bass-unless you are doing 2 higher strings you need a longer scale 1/2" headstock seems a lil shy for me unless this is the thickness before a headplate (front/back) glueing- it may be (it is) easier to glue wood that is flat, clamps sit like they should and its easy to keep everything lined up; but now what are ou stuck with? 3 rectangles that weigh 30lbs and some pretty hands on carving with things in your way; plus try carrying that around a shop and pushing it thru tools; and you still might have problems with levelness; what i would do (2 piece i like) have your neck piece and wings seperate, mark all your joins with your template, so your looking at it together then like a jigsaw puzzle when theyre apart; keep any of the joints planed and untouched; do your headstock, add your fretboard, carve the neck; stay away from your joining marks by about 2 " then cut out your wings and do as much crving on them as possible; you can be a little more sloppy with the glue side on these because they can go thru the jointer w/o screwing up too much in the process; then gluing; this is why you keep your scraps from the wings; stick them back in against you wings and you have a somewhat 'perfect' clamping caul;then after you glue has set for some days you start smoothing the trasition; at the very least you should do all the inner parts of the horns b4 glue but whatever; neck angle- i would have one, especially on a bass; you have to know this exact angle before you start anything, cause once the first gluing happens after the initial blanks are made its tooo late; and also have fun; its probably not gonna turn out the way you want; but the next one will (at least a little closer) watch out for suggestions that are telling you abou t a bunch of fancy aesthetics for your build; push these aside, and really learn how to make this thing, or your gonna be over your head with extra (uneeded) time and money dumped into the learning cuvre; and a multi lam neck of hard rock and ph isnt gonna need cf rods. but thats preference; but too stiff is just as bad as spaggetti neck

im sure he meant 4/4 in refering to only thickness; but heed deans unspoken warning; that you dont want to have to start gluing up end grain to get overall length; and if your laminating poplar half and half i would definatly paint it a solid color; and you'll have one kick a$$ tele;

i find the 'stratocastor' the most boring and 'over advertised' guitar in the world; still; that is one niice looking guitar! besides the finish the simple look of that ash and your whole scheme just 'does it for me' thank you for that.

so this is the thing; i swear ive seen this topic around, but since i cant search for 3 letter words; nut; ive been trying to locate info by trying to search other 4+ letter words that might be usd in the same topic; its not going well......... so riddle me this; the way i want to construct my new neck is with a scarf joint (i like the look of solid end to end; but the benifets of scarfs are everyday more apparent) with the headcap glued on prior to final planing of the neck for the fingerboard; meaning, when i glue the finger board on it will overlap the head peice so i can blend them together; for this to work, i need to have my nut inlaid(?) in to the fretboard ala fender; i usually leave a 1/4" gap between a head plate and the fingerboard and stick the nut in there; so im trying to make a jig for my dremel to make a clean accurate nut slot. what i tried was having a piece of melamine joined to the bottom of my dremel stand with a straight edge underneath; everything is flushed straight to the front; on the fretboard another board is attatched (dubl side tape) with a dado running parralell to its straight edge that sits flush to the fret slot in the board (the zero nut slot) the piece under the dremel is 1/2" wide and the dado is 3/4" wide; so the idea is for the one end of the dado allow it to go 1/4" past the nut slot ;then with the help of some super slip tape for slippiness and extra width the closest pass to the fret slot would leave a hair of wood remainig next to the slot so it could be removed w/ a chisel so the intonation is not disturbed by a wandering bit or whatever; after putting this together it dosent feel like this is a very well thought out jig for practicality; so what do you guys that do this type of nut use ? or any thread that \s going over this would be sweeet; thanx

ya cool; i like what your saying and how you do things, i like debating things for the sake of debate i guess; i wasnt trying to beat a dead horse or call you idiots or catch any inconsistancies for evil intentions; but thanks; this was fun and your right about your 'mude point comment' i guess; i took it the wrong way ; i look at it as not agreeing with something thats differnet from the point im trying to make; which in turn does sound kinda sel ritiuos.sorry grant

Yeah, they're called "concentric pots" as mentioned by a couple of the previous posters. You can get them at most e-tailers of guitar parts. CMA ya i figured these 'technical' terms were far over my head; thanks CMA

These are the quotes I think most people are replying to. You are basically saying that the tool is good for nothing, not exact words, but reading into it. last one to use, leaves lumps... To answer your last statement, it is not that is not needed, like rasps might not be needed, or sandpaper, it is that if used right it is an invaluable tool for removing stock fast, accurate and easily. All tools have their place, a rasp removes stock fast, but mostly on a small area at a time, while with the spoke you can go the entire length of the neck. In the end, I like to use all tools available, Only once I have use a spokeshave (thanks to Hyunsu), and I will be buying one as soon as taxes come over. Neck profile Body shaping http://img.photobucket.com/albums/v195/Maiden69/DSC02399.jpg http://img.photobucket.com/albums/v195/Maiden69/DSC02404.jpg One tool is not mentioned here and I liked a lot while working at Hyunsu's is a carving knife, this one he made from a broken file. Both the heel and the volute were shaped using it. It took me a while since this was MY FIRST neck, but while I carved both my heel and volute, he did an entire neck (except for final sanding). This was in less than an hour. I understand your point, but your first post was done unfounded and by personal opinion, a lot of bad advise has been given like that, and this is why most of the time, if I have limited experience I try to stay behind and wait until the most knowledgeable guys post to corroborate my ideas. touche' maiden69 touche'

this is a 35" scale bass i call 'ranbo' (its a mix of rainbow(****)and RAMBO (manly)) i forget how many laminates are in this, but im looking forward to hearing how much compression this will have; woods include 3 maples, 2 soft and 1 hard, walnut, purpleheart with black dyed veneers; the cats eyes are p.h. and walnut with maple veneers; the front block is bloodwood covering the back block that id mahogony and p.h.; its started to be scuff sanded in this picture heres a link to me in the booth and doing some other work finishing up some cabinets http://s68.photobucket.com/albums/i23/lowe...ring/finishing/ the neck that is joinig it is maple and p.h. with 5mm mahoogany center, w/a qrtd.pau ferro board

this is a short scale, semi hollow, single cut , fretless beatle bass; it has a hogged out three piece body (mahogony,padauk) with a spruce top with curly basswood sandwich; it has a deeeeep set neck of mahogany (not a fan) with an ebony and rosewood heel; under the tape is a fretless bloodwood board with ebony markers 5mm into the edge of the players side

unless ive misunderstood, dont they make pots that are stacked; but they are one ontop of each other as oppose to toggling between 2 on 1 shaft? its a pot that has a stub on the top and a ring right under it that each have individual operations? it may of been a dream, but what a dream! im gonna look for them.

if the point about not listening was directed to me, it couldnt be further from the truth, but i need to be convinced somehow to change what works perfectly fine and quikly, with something besides ;"thats complete dribble, i do it all the time", but what i dont get now is as the thread goes on it seems like the order of operation is chisel, rasp, spokeshave, scraper, sandpaper, as to what started off as simply grabbing your amazing spokeshave and thats it! im listening very closely and still think its not needed; not to say that someone else might not love it; but to say "learn to use your tools before you give advice" is pretty persumptious when all you guys are doing is throwing another tool in the mix; and i dont know about you but my way takes just over an hour to carve a neck; to clarify; that is a neck blank that has been glued, side profiled on the bansaw , fit in the pocket, flush routed and aleady has frets init. the (metaphorical) clock starts at the shaping of the volute and heel (always first) and ends at the final sanding and/or the transfer carve into a set neck; sorry if im causing a stink; but im upset about the questioning of methods that seem to be less reliant on various tools than the instigators; but like i said before; these guys on the oposing side of the issue make some retardadly amazing instruments; i seen a few in this upcoming calendar (that everyone should buy) so im always interested in what they have to say; but this; i dont buy it' sorry merry christmas grant

well; like i ''carefully stated'' this is my personal honest opinion; and i will not be swayed, and not because i dont know how to use my tools ; """""IMO"""" in order for the spoke shave to give you a consistant flat surface (that dosent need maintenece after) you have to start with a very flat surface; because of the very small 'guides' (whatever the surface around the blade is called(im sure not knowing that will have me crucified!) that only follow what is directly in front of the cutter; by what i means is, if it hits an area untrue/flat that is a wider area than the tool ,it will follow that contour and dig it in more; it has nothing to rely on for balancing whats infront and behind, making it match from end to end; and if your going to just be roughing a shape using a pull tool; use a draw knife; it allows you to see everything thats going on; can cover a lot larger of a surface when held on an angle and so on ; but anybody that comes off that billigerant questioning methods, wont have their minds open enough to even listen why theyre being disagreed with anyways; and as far as rasps go; ive never seen any file that could take off as much stock as mine as quikly that didnt leave marks; but the scraping is for rounding out the shape youve carved in;(which i could see using a spokeshave for actually! but id still be doing everything else already and instead of a 30$tool im using a scraper i made out of old resaw blades;ha) but whatever; im a fan of rhoads and mykas projects; so they must have methods that work very well for them but they are not convincing me o nthis spokeshave deely; sorry to get you all soo upset

cheap tools are no bargain , but the wrong ones are just headaches; i personally consider a spoke shave to be the last tool to use for neck shaping; cutting/carving tools should be used to get the basic shape ; files and straight edges for uniform(inity?) and then some straight cabinet scrapers to get a head start on those rasp marks prior to sanding; a spokeshave will leave you with a lumpy pitted mess; no matter how good someone is with one (imo) because theyre drawn over long areas and are like hand planes (with no base to follow) theyre a handy tool to please the eye; but the senses of touch are a lot harder to fool

fbass- alain carron semi hollow spruce top with f-holes; sounds amazing; some only have peizos; i made one of the same idea for a top and will finish it someday; my boss wants to spray bowling lane finish onit so its a rock; cause i told him i worry about the area over the chambers; but its soo boring; if you want acoustic properties build an acoustic; besides thats what takes real skill....... which is why i have not made one!