curtisa

I'd have to agree - you need a logo on those headstocks to get yourself the recognition you deserve. It's patently obvious you know how to make a great looking instrument that gets people's attention, but unless they're talking about a brand attached to these guitars you're missing out on the real market of people who are willing to shell out $2k on one of those.

That's very similar to how I started doing scarf joints on my multiscales. The only difference is that I fixed the two ramps to a MDF base, which meant that I locked myself into doing one nut and headstock angle (seemed like a good idea at the time). Your version is probably better in that you can reposition the two ramps to allow for different nut angles if and when you need to.

Judging by the website it's marketed as a bit of a universal 'everything' epoxy - fibreglass resin, glue, grain filler, waterproofing...

The product I use is something called 'Bote Cote' (Australian brand). To be fair it's primarily intended for fibreglass work and boat manufacturing, so drying clear isn't high in its list of features. But it sands well, it's cheap, it doesn't seem to matter if I get the mix slightly off, it doesn't shrink back and I can get it locally over the counter. I have one variety of the super clear stuff on my shelves but I don't use it so much, as it takes much longer to set before I can sand/scrape it. I should probably see if I can find a better alternative.

I'd say it's just a characteristic of the particular epoxy I'm using. The leftovers from every batch I've mixed has always turned cloudy at the bottom of the cup. It's just my own fault for trying to fill such a deep cavity in one hit. As a grain filler and pinhole void filler it's fine, and sands down quite well. For bigger fills I just need to remember to use another epoxy that's designed to dry clear.

Bolt on neck, no glue here. Still need to complete the grain filling/sanding/finishing on the neck yet before I can put it all together. The problem I originally had was the epoxy I used dried slightly opaque rather than full of air bubbles...or perhaps the opaque section was minute air bubbles not discernable to the naked eye? Either way, for such a large fill this time I've used a different epoxy that dries completely clear. I find that I can deal with most air bubbles during the drying process by gently skimming off any that form while the epoxy is still wet, but that obviously requires me to keep an eye on the epoxy for the first hour or two after I've poured it on.

Have been far too busy recently to stay up to date with this one, but I've finally been able to spend some time on the builds. First thing I needed to do was deal with the opaque epoxy fill problem on the good twin. A little bit of digging with the dremel and a 1/16" router bit and the worst of the epoxy is out. I also spent a bit of time blending the area to make it look more like a 'knot'. Not sure if it makes much difference, but anyway: Better: Headstock logo engravings taking shape: Doesn't llok much different than before, but it's almost sanded ready for finishing. There's two small areas currently being filled with epoxy to finish off the last of the knotty voids:

It's probably fine. I've made necks that probably had similar amounts of meat behind the trussrod and they've been perfectly OK. I assume you're using the Stewmac Hotrod - is there a particular reason you're using this over the lower-profile ones similar to Allparts or Allied Lutherie? If you're worried about it you could always use a thinner trussrod to maximise the amount of timber in the neck.

If building, the easiest way to do it would be add a capacitor in series with the 'B' output. Working out the exact value cap is somewhat dependent on what you're plugging the 'B' signal into, and the cutoff frequency may change if the 'B' output is plugged into a different piece of equipment. If you're plugging into a typical tube amp (1Meg ohm input impedance) a cap value of about 2.2 nano Farad will give a highpass cutoff frequency of about 75Hz. If plugging into a Tubescreamer (about 500k input impedance), the cap value needs to be around 4.7nF. A smaller cap will make the high pass higher, a larger cap will make it lower. Caps are cheap - buy a handful of different value caps and experiment with them to find out which one works best to achieve what you want. You may find that an exact 80Hz cutoff is too high or too low for your application anyway. If you want a prefabricated solution, then as Tim37 suggests buy an EQ pedal to place on the output of the 'B' channel and filter out the offending frequencies.

Having only built bolt-ons, but owned a few set necks, I get the impression that there are too many variables at play to nail down a particular characteristic of neck contruction against a specific tonal behaviour of an instrument. There may be tonal and/or sustain differences between a set neck and bolt-on, but I'm yet to be convinced otherwise that those differences are far outweighed by pickup choice, scale length, string gauge, body mass, bridge construction etc. I've personally never owned two guitars so similar, with the exception of neck attachment method, that I could formulate an opinion about the matter. The minimal heel on a set neck is attractive, as is the separability/adjustability of a bolt-on. There are ways to minimise the heel area of a bolt-on to alleviate the big block of wood that gets in the way on a Strat (Ibanez's All Access Neck Joint or ESPs tapered neck joint for example). Likewise, there are set neck guitars where the joint is such an unwieldy shape it makes you wonder why they bothered (the heel on a PRS Custom 22 is just plain weird). The first 'proper' guitar I owned was a Yamaha Pacifica, which had an ingenious bolt-on system which just about eleminated the heel completely. The neck heel attached to an aluminium tongue, which fitted into a matching socket in the body underneath the neck pickup.

Based on personal experience with the baby CNC machine, a 200W spindle motor will comfortably have enough oomph to do this kind of work. Whatever solution you settle on will need some way of securing and changing bits to allow for different reduction ratios and cutting detail. Fitting a fan is an option, but you either need to have it blowing into the workpiece and spreading the dust everywhere, or drawing air away and having some way of collecting the dust being drawn through the fan. For such small work it may be easier to just let the cutter do its thing and have a vacuum cleaner handy to clean up as you go.

For such a cheap neck, unless you were actually curious about learning how to refret/re-slot a fretboard, I'd be inclined to just buy a new one rather than repair it. The cost of the tools and materials would far outstrip the value of another 30 quid neck. Not trying to tell you how to suck eggs, but it's also worth confirming that your method of verifying intonation is correct - compare the open string tuning with the corresponding tuning of that same string when fretted at the 12th fret. Both should be the same pitch with an octave difference. The other alternative is to compare 12th fret harmonic with note when fretted at 12th fret. Some people prefer this as the note should be the same pitch and octave, and it is quicker to hear subtle differences in tuning than when comparing open string to 12th fret. Other things to consider: high action in first few frets due to weird neck warp (unlikely)jumbo frets and heavy fretting handnut positioned too far away from first fret (may also be indicated by notes gradually getting flatter as you go past the 12th fret)wrong scale length neck for the given bridge positioning (easiest indication may be that the 12th fret harmonic isn't actually located directly above the 12th fret)re-intonate and tune the guitar with capo at 2nd fret and compare against 14th fret (or 3rd/15th, 4th/16th). If the guitar plays OK with the capo on it's unlikely that the frets are off.

Good to see you back here. You need to slap a logo on those bad boys.

Not familiar with the Coronet - looks like a set neck construction? No reason why you couldn't modify the body shape slightly to give it a Strat-style heel and fit a bolt-on neck if you're worried about building your own. Plenty of aftermarket pre-assembled bolt-on necks available online. Looks like the headstock shape could almost be cut down from a plain Strat-style headstock too. You'd need to be aware of the scale length of any premade neck you decide to go for, as it has an impact on the location of your bridge relative to the position of the frets. Stewmac have ready-to-go bolt on necks. Lots on Ebay (some dubious quality, but much cheaper than Stewmac) Warmoth Allparts

Behind-the-nut sympathetic string vibration is more likely on a reverse headstock, and is the reason why I've stopped doing reverse headstocks on my builds. Can always be countered by wrapping a bit of cloth around the strings behind the nut, but can be annoying. Relative feel of 'stiffness' of the string is also a factor The only exception I've found is if your build includes a locking nut for a Floyd or Kahler trem.

No reason why you can't use the Headbone single output to drive both 1x12 cabs. Two 16ohm cabs run in parallel is an 8ohm load through one lead. You'd need to make up a Y-lead to drive two cabs from one output, but it's perfectly doable. The only thing you couldn't do is mixing the two amps simultaneously.

I still can't answer why so many Australians reckon Vegemite tastes good though. So: Guitar -> pedal board -> switcher to either Orange or Blackstar. And depending on amp selected, the selected amp goes to both 1x12 cabs? I think what you're after is the 'VT' version of the Headbone. Sending both amps to one cab simultaneously is beyond the capability of the Tonebone switchers, but you could easily have each amp feeding its own cab and running an A/B/Y switcher at the inputs of each amp.

Sounds like you want to send one guitar to two amp systems, one at a time? Is it two amp heads being switched into one cab? Does the pedal board go into the front end of both amps, or connect into the effects loop? I've got a feeling Radial Tonebone make some kind of switching system that allows you to do all sort of fancy AB foot switching. Depending on how complex the switching is that you're after you may get away with a single AB footswitch.

I have to agree. Without knowing jack about spraying auto bodies myself, black is a colour that must be difficult to do right. Re, farting unicorns: makes you wonder which end the pot of gold resides

Good info here. One other thing that may be useful to add is some way to raise the height of the work platform to reduce the depth required for the router bit under the sled when working thinner pieces. Maybe something as simple as a second removable 3/4" ply bed plate that sits on top of the existing bed and can be secured to prevent it sliding around.

Interesting read. Very much a case of no right answer. Probably a case of they're all right answers too. All the more reason to assume if you've built an instrument that sounds, looks and plays well, it won't matter how it's made.

Black is for girls. I was thinking more along the lines of Hannah Montana pink with glitter stars and a stencil of a unicorn farting a rainbow between the pickups. Oil finish for this one.

Couldn't resist quickly throwing the neck and body together. Still a little bit a scraping to do around the lower horn, plus a couple of voids in the top that need a bit more filling with epoxy:

My guitar has a bad case of bandaids and dandruff:

Looks good, glad to be of help Edit: one more tweak - don't forget to take the two 'C' terminals of the switch and wire them to the bottom lugs of the vol and tone pots, otherwise you'll get nuffin' out of the guitar.