low end fuzz

the horns and headstock look porportioned, but the bottom end makes it look like a fat chick with no a$$.

usually my truss rod is accessable through the headstock with a cover over it; im finding it uglier (sp) every time i do it;

sloution: go thru the heel end;

but i was drawing it up and im missing something;

normally i route prolly a 25'' channel for a 24" truss rod;

this gives my truss rod a place to cozy and an extra 1" or so for an accsess area through the top (the opening you see is on the headstock plate so you only see a 1/2" opening)

and the rod (im guessing here) stops at like the 21st fret; which i liked because the heel isnt going to warp all that much! whereas the upper half of the neck is where i worry abou thaving the extra support,

still follow?

so my problem is that how do i make my rod accessable thru the bottom without comprimising to much strength in the nut region; i didnt like the idea of the chamber thru the 23rd fret as i seen someone did ;it looks like an after though mung up (i know it wasnt)

i guess im asking how far away from the nut would you put your truss rod?

thanx

i would just add that ca AND epoxy is best

dab super glue onto the bottom of the inlay so you can set it up exactly how you want (like figure pattern and multi piece config.) then epoxy w/ dust to seal gaps and secure it beyond a doubt

i would say 5 mins. after your completly done spraying; if its still wet just dont hit the area that was sprayed;

paint wont migrate to another part of an object unless it drips there, and if that happens your in need of practice;

any time you paint or do anything with something that dries you are unfamilliar with, put some on scrap in the same method and check that for tackiness, when nothing comes off to your finger your good to go

some things you should know;

a router bit is not made for removing alot of wood, its more for cleaning up, flushing, and well, routing;

using it for the body IS a good idea, but only after you have roughed out the shape, and you need to take small passes or you will tear-out, having said that if you plan on using it to be exacting in your cuts you will also need a template and a flush bit, which is a router bit with a bearing the same width as the cutter;

in th elong run cutting and sanding is my favorite way to make a body

why do you want your new pickguard ovr the pots?

usaully thats just to house the wiring with the controls wired onto the guard itself; if its because your using the only picguard you can find from some p-bass or something , id say reshape it, if its forlooks widen the holes so the pots can go right thru but still be covered by the knobs

godin;

let it bleed out;

take a few weeks if you have to;

then sand it down w/220; and start again how you originally intended; the dry tung oil will form in the grain like super glue (unnoticable with another applicaation) and it ont happen again PLUS yuo wont get that porous feeling you get with tung on wenge and padouk;

and as soft as tung oil is, danish oil does noting in the long run of protection; i heard it dosent penetrate as far in either

you should never wax a 'soft finish'

Any critiscism is appreciated, don't wanna start construction in a few weeks without some of you experienced builders pointing out my retarded mistakes

im guessing since its 25.5 scale this is a 6 string 'guitar'

what music exactly do you play?

if its something that you would notice having a tottally out of tune guitar, then your gonna want frets in there;

dont ruin a whole project because your afraid of doing your own frets;

on the other hand if its for bleeps and bloops or random sliding stuff it would work.

it works with bass because your using (for the most part) 1 note at a time; with a minimum of 3 notes gion that arent perfect sounds like a screeching cat

and for a first build, i wouldnt suggest gluing the neck; bolt it on and any mistakes (read that book 100 times, they'll still happen) will be easier to fix, and the neck and body join IS the guitar.

id much rather draw the outline on the wwod and do that part on the bandsaw and sanders, but;

if you go to the stewmac site and look under binding techniques, look at the pattern they use for preventing tear-out; its basically going the opposite way on all the areas your fightin with.

where are people finding pearl nuts?

I think a previous thread on this discussed the fact that there is little, if any, tonal difference: certainly not distinctive to most human ears. (I think there was some scientific data provided also). However, rollers or some of the man-made plastics, such as graphite seem to be better for gits with trems. There's even argument over that! I guess it boils down to what material you like to work and feel comfortable with.

play on a brass nut and tell me that.

i would agree that plastics sound the same as other plastics and most wood nuts sound the same as others

i just used blackwood on a bass and it sounds real good; but slotting it was a hassle; to 'slipperry'

it gummed up my files to fast and i had to do most of it off the guitar after i slipped on the a string; praise ala for truss rod covers!

if you recess the the TOM into the body ,you have to figure out a way to give the strings the angle into the saddle;

i think you need around 25 deg.(?);

which i guess if it was string thru, it could imitate the height of the saddle from the body?

who knows?

id never bother, epoxy with ebony dust and xerox ink is all you need; you dont even need the ink i just find it gives it the same polished look of black ebony

search for tutorials;

burn in laquer sticks

hot knife or screwdriver (old one) over torch

pick off piece of black (or clear if theres still colour) spread like ;i guess wood putty; into the chip; try to be neat;

then when its had a few days; 1 at least!

get a small block and level sand w/ 220/320 and then move up to 400 and gradually higher till you have rubbed out the area to a matching sheen

grain (pore) filler; the coloured kinds; has pigments in it, which means it will stain the wood, which is a problem on bare wood; but the main problem your having is the fill isnt doing its intended purpose; im not sure why stewmac would say to 'stain' it first; unless that their idea of sealing it!;

what you want to do; if your colouring the wood too, waterbased dye, let it dry, washcoat of finish, this is a thin sealer coat of shellac or thinned laquer; this will prevent the colour of the filler from preverting the wood, but thin enough so the little balls (thats what the filler is) can sink into the pores; you lightly sand off the excess careful to not go thru to the colour and to flatten , then finish

well, you obvioussly know how to do it on the ebony;

the only way to do it on the rosewoo dis to make a new hole where the inlays are and plug it; how noticable it is ,is depending all on how good you match the colour ,grain, snugness and anything else that distinguishes 2 pieces of dfferent wood

anyone here wind pickups?

lookig for a few jazz 'style' pups for my bass; no shells needed

not happy with what im finding on the net for the cost

thanx

grantattack@hotmail.com

hello, greater hamilton area brother;

im here in grimsby, which is actually niagara, but only 10 min from hamilton;

exotic woods is good, Mel always walks me trough the new stuff; but A&M is worth the extra 20 min drive!

i dont personnally need an area to work but if you need anyting thicknessed or looking for fingerboards i can help you out , locals get my best deals; i only ask to see it when its done!

piece aught

in no way a spalt expert; but the only time i epoxy or super glue before the final cut is to stop checking;

after you resaw them and attach them to your body , then stabilize any real bad areas; then before finishing, glaze it with epoxy and sand flat; it wont matter if some wood is exposed as long as its flat, the spongy dead wood will absorb it;

give a washcoat of dewax shellac or thinned (whatever your finish is) and after it dries fill in the pitting with more epoxy;

flatten again wwith 320 and then finish it like any thing else;

some pics would be good

that is a cool jig!

basically a router version of spectors cnc;

one thing that is someimes forgotten is to sink the bridge so it sits flat; and its prolly best to do it before you start shaping; all the routing;

which takes me to a question i had about the control cavity;

i could see sinking the knobs to the right thickness, but is there a way anyone uses to keep them 'on top'?

like have the inside carved on the same slope?

and not by cnc

be careful about putting someones name in multiple places on your work, it turns cheesy real fast;

stick to either the heqadstock or 12th fret;

freddys a good guy; you should see if he'll let you use his duplicarver for the top

call it 'ROCK'xanne