low end fuzz

the variety is intense, i have to throw some more in there;

personally i love to hammer in the frets, i use to use a brass hammer and would freak out by how many times id kink the wire from a miscalculated hit; now i use a hard platic hammer i bought from canadian tire, one side yellow(soft kinda) the other side white(hardest) i use the white side and just giver, i put the runniest CA glue (hot from lee valley) in the slot (one drop in the center spreads throughout the fret slot) hammer from one side to the other, then check for any space under the fret, if theres any blobs of glue (shouldnt be) wipe them away with the edge of a folded piece of sandpaper, do the wholeboard ,trim flush and the rest is beveling leveling and polishing,

i hope mesca bug mispoke, and dose not actually fret on a 100% flat board (unless its like a classical guitar or something) im gonna guess he meant radiused, but 'true'; i hope;

i radius level and sand to 220 before i fret; the 180 and 220 arnt really nessasary since you have to sand and polish the board after the fact, but its soo easy to do and could point out something nasty you didnt see sanded to 100;

chamfering the slots is a good idea, but ive never had any problems with ebony after the point of tapering and glueing on;

if you need lube, i would personnaly use white(yellow/wood) glue before ever putting water on there; i might try it, for experiment purposes, but it dont seem right, especially if you plan on putting any type of glue in there.

i think you were looking for projectviolin.com; jk

even if its a piece of crap; a project that sparks interest is always worth doing!

if you cant feel it, its not there

get out the wood stretcher!

use a vacuum or something else that can evenly press to shape and soften the veneer so it doesnt crack, feather off excess, then theres the whole thing about wheather you prepped it properly, but thats a different issue;

cut and rejoint;

even if you seperate it with heat, your gonna have glue somewheer that has to be removed, and since your not happy with the original joint in the first place, not jointing the edegs again will leave you in the same place you started

Joe looks very horny;

im bored

as long as your guitar dosent get stigmata at some point, and you have to fix a big hole!

no, its the worst instrument wood in the world........

can i have it?

A floyd will likely *change* the tone of a guitar, and it could certainly be that you won't like the change, but you could just as easily like the change.

I've been messing around with my old '90 'never made it to final assembly' Kramer, and it's pretty hard not to sound like a Steve Vai wannabe half the time I wiggle that stick. But maybe what I hate more than that, is the pokey "spike" on the locking nut, between high E slot and edge of nut. Although I don't have the clamps on the nut, so maybe that makes me feel that spike more.

Funny you should mention that, I still have a scar on my index finger from that damn nut that was on my crappy plywood '80s Kramer.

I've been playing Floyd equipped guitars for more than 20 years and I've never seen or heard of the locking nut being spikey or dangerous.

But then again, I've only ever used real Floyds and/or Ibanez Edge trems. Maybe the cheap knock offs are different

No, I was just a showy teenager at the time (late '80s - early '90s) and was jumping around on the stage. My left hand slipped down the neck at about 150 miles an hour, catching my index finger. OUCH! The audience liked the blood though. Sadists.

you got my hopes up that this thread would quikly turn into a discussion of bleeding on stage; like the time i punched a disco ball at the climax of the song;

something at the time told me it would be awsome and the ball would go crazy and and flop around making cool effects

(we were in a hardcore band that sometimes played at any venues that would take us; i beleive this was a chinese restaurant during the day!)

it didnt flinch;

"dissapointed"

but it made for a great pic after i tried to suck away the perfusely bloody mess;

this thread is officially hijacked;consider it a bump; sorry.

someone send the man a truss rod!

(insert picture of me beating dead horse)

well the thing is , it dosent make the pores smaller, just less noticeable, but unless your leaving gobs of oil in the pores, theyre not being 'filled'

i dont know the science, just the end result;

if i think of it and have my camera i'll post the walnut i did with this method;

the pores are there and not filled, but you dont see the 'pits'

cool

i personally would put a rod in there, just for the sake of having a rod in there;

i like offcut builds, it forces you into ideas that arnt always the norm, but can be applied

well if danish oil is an actual oil, sealing it/grain filling, will prohibit oil from doing its job, which is to be absorbed/penetrate

so if your finishing porous wood with oil you have 2 options;

either have a grainy finish (the "hand rubbed look")

or continous sanding of higher grits with wet oil, until the pores are fine enough to live with;

start oiling the wood sanded to 150/180 tops( get er on there thick so it will drink(wipe off excess after 5-10 min))

after a day or two move consecutivly up thru grits 220 320 400 600 and so on with wet oil ,like wet sanding;

some ppl think this is 'pore filling' with oil and dust but its not, since when the excess is wiped so is anything in the pores; however the more finer sanding makes the pores smaller and less visible on the suface while the oil keeps the paper lubed and restoring any other oil you might sand off the top;

still no real protection if its an oil; but is danish oil like treated with curing solids or somehting?

well, I had two guitars in the box ready to assemble. So all the tuners, fret wire, truss rod, etc.. basically a complete set for each.

Then I had a router, a ton of bits, including the stew mac truss rod bit.

2 palm sanders...

the stewmac table fret saw, and 1 guide for it

files, chisels, drivers, sanders, etc

wood wise I lost a swamp ash and african mahogany body, 2 necks of mahogany/paduak. A bunch of wenge, mahogany body blank..

I bought many of the same tools when I got to texas, I couldnt wait on the box, first I was going to drive and get it, but there was some complication so I tried shipping it and it never got co-ordinated right so I said I would just pay whatever it costs to get it, and it was to late.

Im mainly upset about the stew-mac tools, my router, and the guitar parts.. that stuff was all brand new so its all lost..

I appreciate the offer for donation, that means a lot community wise. But its ok. It just saddening. I WILL be taking you up on the shop offer though if we cant get the other thing worked out, and Im probably contacting you soon for some fretboard stuff. My girlfriend couldnt really understand why it was upsetting, but the white one was my first guitar ever to be built. Its ugly, and needs work, but it was sentimental. my old roomate sucks for not telling me before deciding to toss it, but he has other stuff of mine im trying to get so I dont want to start a fight.

tell her it was so upsetting because now everything has to be replaced, instead of buying her some jewerly you were planning on;

that is bad news; i could donate my busted up mastercraft router i dont use it, but it still works!

ooooooh;

burns from the router; there goes all your carbide!

very nice giter' btw

when placing your bridge, you should be the same distance from nut to 12, and 12 to bridge;

from this point you fine tune for intonation;

the scale length is more impt, than number of frets; it could be a 20 fret neck, as long as the scale is correct; but im assuming that you prolly dont have a tenon (ala fender) and stuck it plunk where the 24 (no tenon) was living;

which would give you a problem, so all you could do is bolt it where its supposed to go and put up with a gap under the neck, or fit it right in the pocket and move your bridge acordingly (better option)

Yeah I put the Kahler bridge useing the same stud hole as the F/R was mounted, but wouldn't 24 fret neck be a bit longer then 22? thus making distance from bridge to fret longer?

your confusing my words; which is easy cause i cont write my thoughts too well!

if you have two necks, 1 is 22 frets and the other is 24, but they are both the same scale, the nut to bridge measurement (and to 12th for that matter) is the same, if both necks heel end at the last fret (+) on both is where your problem is, because of a pre-existing neck pocket;

if the 24 fret had fingerboard overhang of the fret and a half, butting the 22 fret to the end should be in adjusting range for your bridge to make it work;

but if neither had an overhang is where your only option is to but the end of the fingerboard/heel right to the end of the pocket you have to get back the 3/4" (or whatever) from your bridge placement, which would be pushing it back to the base of the body;

imo anybody that looks at an everyday retrofit and tells you to get a new guitar as opose to having a few holes to fill/live with,should not call himself a 'repair guy';

and especially if hes trying to peddle his store merchandise, i wouldnt give him my business,

keep doing what your doing, but get informed on what your about to do, measure and checkout everything you do before any permenant changes, and if anyting is going to be completly replaced, make it a new neck with 24 frets or one with a tenon with extra girth to shape in the pocket for a tight fit, cut to register with the bridge placement;

you have soo many options,

when placing your bridge, you should be the same distance from nut to 12, and 12 to bridge;

from this point you fine tune for intonation;

the scale length is more impt, than number of frets; it could be a 20 fret neck, as long as the scale is correct; but im assuming that you prolly dont have a tenon (ala fender) and stuck it plunk where the 24 (no tenon) was living;

which would give you a problem, so all you could do is bolt it where its supposed to go and put up with a gap under the neck, or fit it right in the pocket and move your bridge acordingly (better option)

i find with the exotics, if you can handle a puff off the sander with no bad reaction, your not gonna notice a whole guitar;

first guitar?, no wood working experience?

well, i quit.

its so clean and smooth, not just the pre-finish, but the entire build; 'props'

Another vote for Brass. Try Rio Grande, it about $8 a sheet and is the right thickness. Use it all the time.

Wolf with real gold leash and collar

Wolf with brass parts

very nice

i found my routes that curved inward slightly on excessive passes was from the template edge having the slightest taper , so when your riding the whole jig, its fine, when you flush the next pass to the previuos (wood not template) it compounds the small error; just make a new template by flushing it to your old one with the bearing riding the top edge;

ok, now that is a cool guitar;

ive seen a couple of variations with this same 'style' minus a bit of carving, but thats the first time i ever thought it was a cool shape;

tres bien!

i dont know spanish, just bad canadian french

its not 'gold'

but go buy a 10$ brass kick plate and you have a lifetime of 'gold' material

and if you inlay after the radius , it will bend superb!

how would I cut/shape the kick plate (via what tools) ?

How hot does your average 30w soldering iron get?

cut it the same as pearl, jewlers saw clean up with sanding, buff it up to 000 steel wool, if you dont put finish on it , like on a fingerboard it will go green, but cleans up nice with a lil buff;

i dont understand the solder question; hot ..... very hot..... i guess

ive made some out of rosewood ,koa and acrylised buckeye, and they look fantastic, all exept the burl are lifting off the body between the screws, i guess i just have to make the real wood ones thicker, but they start getting to be an eye sore