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curtisa

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curtisa last won the day on June 6

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  1. Kinda. The temporary fence at the back of the table is correct, as it allows the workpiece to slide left-right to prevent any error in the forwards/backwards placement of the holes. But the extra jig with the locating pin she uses potentially re-introduces those placement errors, as there's nothing stopping the jig rotating round the axis of the index pin (at 11:14 for example you can see the second-from-the-right hole is closer to the fence than the other five). Better results would have been attained if the jig with the pin was wide enough such that it too could also be pressed up against the fence at the same time as the workpiece, so that it couldn't be accidentally swivelled around when positioning each hole. The other alternative is to use the long fence at the back of the table as before, but construct a stop off to one side that the workpiece gets butted up against to prevent it shifting from side to side (similar to those adjustable end stops you find on chop saws). If you can make this side stop adjustable in some way that you can incrementally shorten it in discrete steps you should be able to achieve equally spaced holes without the aid of measuring/marking anything except for the first hole you want to drill. The only trick is finding something that has the same thickness as the string spacing you want to achieve as you add or remove components of this side stop (maybe six Lego blocks, or six holes in a Meccano girder, or six offcuts of some metal bar stacked side-on-side?). Something like this: Yes, although you don't have to tap the holes if you don't want. You could just as easily drill the holes in the baseplate all the way through, use longer bolts with nuts on the underside to secure each nut/bridge and route out some clearance in the timber underneath the baseplate to allow the nuts/bolt ends to fit in to. The only drawback then is you have to design your baseplate to be intsallable with all six nuts/saddles already in place. The nut plate in my photos, for example would need to have wider sides to allow me to install some mounting screws to attach it to the headstock.
  2. That's pretty much exactly what I do with mine. Admittedly this is done on CNC, but it doesn't have to be that fancy: A fabricated mounting plate to fit six tuners (or nuts) would be a trivial thing for a capable machinist to whip up, provided you gave them a decent drawing of what you wanted. It's the sort of thing they might do for a six pack of beer in their lunch break if you ask nicely. Certainly a lot less work and money than fabricating up six custom-made tuners specifically for your build. If you have access to an OK-ish drill press there are ways of making repeatable, equally-spaced holes in straight lines that don't require a lot of high precision operations.
  3. How about buying the individual headless tuners and attaching them to a fabricated baseplate with the required string spacing? The only part that would then require any real degree of precision would be drilling the mounting holes at the required positions on the plate.
  4. I didn't mean to imply that those items be in a specific order; more highlighting that any potential movement of the neck as a result of material being removed from the blank, frets being inserted etc should be the last thing you address before attempting to level the frets. Trying to get the neck to 'sit straight' this early on in its construction may be counter-productive if all that happens is that the neck moves again before you get to the fret levelling stage. If you re-sand the fretboard now so that it's flat, you'll end up with a fretboard that is (marginally) thinner at the ends than in the middle. If you start cutting/carving/sanding/shaping the rest of the neck and it moves again, your flattened fretboard could end up non-flat again (maybe lifting at the ends again? maybe bending back the other way? maybe twisting in an odd way?), and you'll have to go back and correct it somehow. It's possible that the neck blank won't move any more from this point onwards, in which case doing nothing now except making the neck as you would normally will be perfectly acceptable, and all you need to do is tweak the truss rod to get the neck flat again prior to levelling. But trying to force it to appear flat and discovering it changes further down the track will just have you chasing your tail.
  5. Finish the remainder of the neck construction steps (headstock, headstock transition, carve, fretting etc) and then make a decision. There's every possibility it will move some more once you start performing further operations to it, so any corrections you make to it now could just come unstuck as you start making further changes to the neck blank, and you'll have to deal with it again. If you've used a dual action truss rod and you need to correct a minor up/down bow prior to levelling, just use the truss rod to offset it. After all, the primary reason the truss rod is there is to control the degree of relief in the neck. What are the dimensions of the carbon rods you installed?
  6. Just clarifying - are you still having issues with it or was it just a mistake in your original assessment that the switching wasn't working as expected?
  7. Silicone is fine to use. Just use it sparingy and avoid any contact with sutfaces that must be glued or finished. A safer alternative may be acrylic caulking filler. It's usually sold at hardware stores and available in lots of different colours for hiding the join between a kitchen countertop and tiled walls. It has similar flexibile and adhesive properties to wet area silicone sealer without the problematic oils.
  8. Mask off the binding area and spray gold for a faux binding?
  9. Ouch. I thought we had the monopoly on overpriced, imported goods over here. Give your mate Boris a hug for me when you next see him Best of luck with the project
  10. Easy tiger! I should point out this is totally untested - you're the guinea pig I'm also not certain how the pickup coils labelled 'North' and 'South' are physically going to orient themselves when installed in the guitar (I'm assuming the bridge 'north coil will be the inner and the neck 'south' will be the inner as well if both pickups are installed with the cable exiting on the same side of the humbucker frame). If it turns out that you're actually getting the outer coils for position 2 the easiest solution will be to swivel both pickups around 180 degrees on the guitar rather than fiddle around with the wires. In that case leave yourself some slack on the pickup cables so that you can draw them back through the wiring channels to make spinning the pickups around easier. Or you might find that the outer coils are close enough for rock 'n roll. In which case,
  11. Carbatec mortising bit with bearing Currently out of stock, but it's the one I use when I need a template bit with an itty bitty depth of cut. They have another one in currently stock that has a half inch depth of cut if that's close enough?
  12. I ***think*** this is what you're after. It's a bit of a head-scratcher, but this should give you the following: With the mini toggle in the 'series' position: Bridge humbucker with coils in series (ie, standard humbucker wiring) Bridge + Neck inner coils in series Neck humbucker with coils in series With the mini toggle in the 'parallel' position: Bridge humbucker with coils in parallel (thinner/brighter tone) Bridge + Neck inner coils in parallel Neck humbucker with coils in parallel As an added bonus it can be done without rotating any pickup around backwards and all positions are humbucking. The only catch is that pesky 3-way 4-pole toggle switch. It appears to be made by Goldo who seem to have good sales representation on the continent, so maybe importing one shouldn't pose too much of a hassle for you? Apologies for the use of light grey wire on the white background to represent the white wires from the pickups. I don't have any proper image drawing software on this PC at the moment to make a white wire look more obvious. There is meant to be a jumper between the terminals on the lower-right of the 3-way switch labelled 'in2' and 'in3'; it's just hard to make out. You can re-use the existing volume pot, tone pot, tone cap and output jack from the original guitar.
  13. I'll scribble something together tomorrow. Things to be aware of though: The three way blade switch will require a specific version (not your standard Tele-style selector switch) which may be a bit hard to come by. Essentially it's a 3-position version of the Oak Grigsby 5-position super switch. One example here. The two pickups will need to be installed with one spun around 180 degrees. If the look of the pickups is important to you choose humbuckers that don't have a single row of exposed pole pieces, polepieces that are different in appearance (a row of screws and a row of slugs) or zebra bobbin colours.
  14. I think it can be done with some minor caveats. Need a bit more clarification regarding your choice of seriel/parallel options (this was discussed recently). Do you mean with the mini toggle in the series position you want: 1. Bridge series (ie normal humbucker) 2. Bridge and neck inner coils in series 3. Neck series (normal humbucker) And with the mini toggle in the parallel position you want: 1. Bridge in parallel 2. Inner coils in parallel 3. Neck in parallel Or something else?
  15. Ground to wherever it's more convenient. As long as everything that should be grounded is grounded, and that the ground is solid and reliable (ie, not likely to wiggle loose or break off), you should be OK. No real hard and fast rules to worry about, other than chosing a grounding scheme that is practical to implement. It's no good deciding to make the back of the volume pot the only point you are going to wire all 10 ground connections to if you have no way of manhandling ten bits of wire onto the shell of the pot without them all springing loose everytime you approach it with the soldering iron, or reducing the pot casing to a molten, bubbling pile of metal in order to try and heat it up enough to attach that last ground wire. BTW, you don't need the top-right '0' terminal on the 5-way switch grounded. It's connected to nothing and does nothing, so save yourself another ground wire. Should be fine. Your tone pot is marked 500k, not 1 meg? Value-wise, something in the order of 0.022uF to 0.047uF will work fine (the bigger the cap value the duller the tone will be as you wind the tone pot down). Type-wise, use whatever makes you happy. Most production guitar companies (and regular hoomans) would probably just chose a greencap or Orangedrop-style cap. If you want to use some kind of exotic, vintage, paper-in-oil, new-old-stock, delivered in the beak of a white dove, presented to you on a velvet cushion capacitor, that's also OK, but be aware that their correspondingly overblown price makes them less attractive and their much-larger physical size makes them downright annoying to fit inside a guitar cavity. Whatever wire you can get your hands on will work fine, as long as it's easy to work with. Stranded wire is easier to deal with than solid-core. You might find it easiest and cheapest to cut up something like an old RCA video lead and pull out the centre conductor from it, or the power lead from an old phone charger. Wire like that can be free if you look in the right places. It will function OK, but it's going to be a pig to work with. The solder pins are designed for a printed circuit board and it's going to be difficult to get wires to solder to it, particularly if you have to make more than one connection to a pin. The threaded portion of the shaft is supposedly only 1/4" long, which is less than Strandberg's claimed 3/8", so there's a chance that the nut will not reach the threaded section of the pot once its installed through the face of the guitar. Something like this is better, but you'll probably have to replace the volume knob as the shaft is designed for a push-on splined knob: https://guitarpartscenter.eu/en_US/p/BOURNS-1M-push-pull-audio-pot-std/5135
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