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curtisa

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curtisa last won the day on April 6

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About curtisa

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  1. Does it need to be grounded? I don't see any part of your switching arrangement that would necessarily require part of it grounded, unless you're doing something like coil-splitting the humbuckers. The only grounding you may want to add is for noise reduction, which would automatically occur when the switch is bolted to any shielding you may have inside the control cavity, but it's certainly not mandatory. The grounding in that case is done by the threaded shaft of the switch being in physical contact with the conductive shielding, which should already be grounded. Not sure
  2. How is it not working? The diagram looks right, but there is a lot of detail missing (I assume you left out a lot of it to make it easier to read?) so if there's another wiring fault going on that isn't shown in your sketch it isn't obvious. For example the grounding for the pickups seems to be missing, as does any detail around how the volume pots and output jack are wired. Not ground. It should be the common output (hot) of the switch after selecting your combinations of pickups, which is how I assume you've drawn it, If this is the case it looks like it's drawn correctly, not
  3. While the strings are off (and on then off then on then off...) it's interesting to see how flat the radius on the fretboard actually is. This is a 16" radius caul from the fret press, and even in the middle there might still be a little bit of a gap, which suggests it's flatter still: Tuning machines can finally be attached permanently. I had them unscrewed for the majority of the setup so I could see what things were doing under string tension and still be able to quickly take the strings off again to tweak things. I've just applied a little paste wax to the shafts near the mounti
  4. In your second picture I think I can just make out the two copper strands of the pickup winding(s) wrapping around the outside of the base plate from the ends of the red and white wires. Without knowing what kind of pickup this is meant to be (stacked humbucker? mini humbucker? single coil? some unusual shielded thing?) it's impossible to say what each wire does just by looking. I guess you could use a multimeter and measure ohms for each possible combination of the three wires. You might find that you get two combinations where the resistance readings are equal and one where the resistan
  5. I've always liked the Hipshot Hardtail bridges. Nice and chunky but no sharp edges to worry about. Their retrofit unit for the Ibanez Gibraltar bridge also has that beefy but comfy look.
  6. Most likely the output jack or the wiring connected to it. Probably take a repair shop under an hour to fix, The parts are cheap enough, but the biggest hassle will be fishing out the old socket from inside the body of the guitar to get at the wiring and terminals.
  7. It was more of an idea of what templates you might need to do it (I had assumed you were going to use a router). There's no requirement to make all those interlocking perspex plates; MDF would do the same job and would be easier to obtain and cheaper. But ideally you'd want as a minimum the back route for the springs, the through route for the tremolo block to poke through the body, and some kind of dish route for the baseplate of the bridge to sit in to to allow for up-pull on the bar. They're all rectangular shapes which makes them relatively easy to create. The closet OCD in me likes n
  8. Getting to some of the smaller jobs now. As mentioned earlier, the bridge pins are probably not original on this guitar and have probably been replaced at some point in its past. These ones don't consistently sit into the holes up to their shoulders, with some sitting higher than others: For a one off job I'm not going to fork out over a hundred bucks for the bridge pin hole reamer with the correct taper from places like Stewmac or LMII, nor am I going to purchase a cheap reamer that won't match the taper of the pins, so I need to adapt an existing tool to do a similar job. It just
  9. Have a look at this article I wrote a number of years ago. It's regarding a recessed Floyd Rose routing template system, but the principles are similar to your requirements for a fully floating non-locking bridge. I would point out that it's fairly advanced work to create these kinds of templates from scratch; not particularly out of reach for a first time builder, but certainly requiring a good chunk of patience, care and attention. As @Bizman62 suggests, practice on scrap should be considered mandatory. Most people probably wouldn't go to the extra work of recessing a two-stud brid
  10. Thanks Biz. On the one and only acoustic I ever made (from a kit, so no credibility points for me) the neck needed some back angle set into the neck block, and I did just what you describe to get around the deviating fret board issue. The fret board is pretty thin and flimsy and bends easily to flatten against the braced top in front of the soundhole and is unlikely to try and counter-deform the soundboard, especially when you've also got the strings trying to convince the neck fold back on itself as well. But it looks daft because its obvious that the fret board suddenly changes projection un
  11. Danelectro pro has 17 frets to the end. A lot of other Dano's seem to have 19 frets. Would you leave the neck pocket the same as a typical Tele, continue the neck underneath the pickguard and just stop the fret board short at the 17th, or approach it another way?
  12. Not quite, dammit: The glue hasn't separated. There's actually a slight deformation in the underside of the fret board near the soundhole, and the shim has simply deformed to match it when it was glued on. I'm willing to bet with my inexperience in removing the fret board extension I've slightly crushed the rosewood on that edge. It was this corner of the fret board I started working from when initially trying to get it to separate from the soundboard. I'm not going to remove the whole neck to fix this one little gap, so I'll use a mini shim to fill it instead. This time it is
  13. A light sand is then done to make sure that any remaining oerhang on the shim is flush to the edges of the fret board, and some undiluted dark brown stain around the edges gets applied to help disguise the difference between the oak and rosewood. I've also applied a little flat varnish to seal the stained edges as well, primarily because when I glue this back on to the soundboard I want to avoid the possibility of the glue and stain mixing and seeping out on to the spruce top: I've also applied glue using masking tape to define a 'no-go' border around the edges to minimise any
  14. The side effect of resetting the neck angle is that the fret board extension over the body no longer sits at the same angle as the soundboard underneath it, so you end up with a tapering gap the closer you get to the soundhole. It's probable that my first-timedness in this process has slightly bent the fret board extension when I heated it off to begin with, which has possibly exacerbated the issue as well: I could just clamp it flat against the soundboard as-is and live with the look of the fret board and strings suddenly diverging at a greater rate at the point at which the neck a
  15. You could always fire off an email to the guy who runs the Jazzgitarren website and ask him directly about the guitar. The description he gives on the page implies that he owns the example shown there. It's an old site, but you might get lucky and get a reply out of him?
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