Magnus

I'd be interested in how you like the wiring when you're done. And which ones you like the best after a month or two.

I use those little things that fit over the strap and the strap button. If you pick some up, get some that don't turn very easily. I've been using the same ones on my Les Paul for about 4 years. Here they are: http://www.stewmac.com/shop/Hardware,_part...rap_System.html I bought mine at a local store.

They may have changed them. I know a guy that has a set of them, and he says they work better than any other tuners he has. His only reason why they are "better" is the high turn ratio.

If I remember correctly, it's a simple 3PDT stomp switch. You can get it online at places that have parts for stompboxes. Here's one from Small Bear Electronics. http://www.smallbearelec.com/Detail.bok?no=80

I wouldn't be so quick to send the pickups down the river. People have said the same thing about tubes ever since electronics went to transistors.

I use a 24" aluminum level. I cut the sandpaper to size, and spray the back with some spray adhesive. Works great.

That would be from the top of the fretboard. The neck on my homebrew Les Paul is 23mm all the way down, and it is pretty chunky. Big difference between it and an Ibanez neck.

'Sup brian. Axehouse in the house! Good to see you over here. Never heard of the wood, either.

I thought that Ed kept his guitar builidng shop in Connecticut when he moved to Las Vegas.

That looks cool. I like the combination of the wide stripes and crackle.

Never thought of using sawdust. Good idea. Dan Erlewine shows in the Stew Mac fretwork book how he fills them in with tiny pieces of the same wood, but it looks like a lot of work unless you use the excess that you cut off of the fingerboard in the first place.

Regular strat (white pickguard)? If not, candy orange or a marble style finish.

Take a look at a King V. Most are 24 frets. That's the look you'll have, and I don't think there is anyway around it. I don't think they look bad, but you can tell the pickups are closer together.

A very accurate description. I suppose on an LP you could also wrap the strings over the top of the stopbar to reduce the break angle. Yes, but that does introduce a longer string length behind the bridge. Raising the tailpiece minimizes and addition to the length. I tried topwrapping, and even with notched saddles, the strings tended to slip, so I just strung it straight and raised the tailpiece.

Another newb here. My experience with this comes from Les Pauls. A lot of you covered some variables that I have not even considered, but here is my experience. With most Les Pauls, if you have the tailpiece screwed all the way down to the wood, the strings are stiffer and the tone tends to be a bit harsher and brighter. Now, when you start to raise the tailpiece, the action gets slinkier, easier to play. In addition to that, the tone softens and gets an almost "airy" tone; very nice. Notes just kind of bloom as well. Kind of like you found out with your discovery, I think a lot of it came from the change in the break angle over the bridge. String length may have something to do with it, but that is out of my realm of knowledge. On a Les Paul, I would think that the amount of overall string length just by raising the tailpiece would be rather small, but it may be a factor in the slinky action. Just my 2¢.

Thanks, guys. Yeah, I don't want to use CA or epoxy.

Yeah, but I want the filler to show up as little as possible. Would a lighter filler show up in the dark streaks that much?

What's a good grain filler for Black Limba? I want to spray it with a slight amber tint or clear.

What kind of guitar? I've discovered there are plenty of tones in the volume and tone controls. Especially the tone.

For timbuckers, there is a LLLLLOOOOOOOONNNNNNNNNNNGGG waiting list. I know some guys who have those, and they say these two guys are just as good, most say better www.crcoils.com www.wolfetone.com Not cheap, but a whole lot cheaper than real PAFs.

If I were you, i'd just swallow my pride and buy a fretboard from Stew Mac, Luthier's Mercantile, or Warmoth. No need to cut your own, fingerboards are pretty inexpensive overall. There's no reason I can see why that maple wouldn't work.

It looks like the second one is right on. Do you have an original Floyd Rose? If so, take some measurements from it. Like you said, it does look like the FR Pro is offset just a little.

Outstanding. I like the headstock too.

I ordered a maple neck blank & fingerboard from Stew Mac about a month or two ago. Both pieces are just fine.

Let me weigh in on the subject: I built my first guitar (a Les Paul) out of 2 2x8s with a 1/2" poplar top. The neck was made from Black Limba (I bought a 3x3x30 blank) and a rosewood fingerboard. This guitar does not have a finish on it. Maybe it will one day. I used that stuff because I didn't want to start hacking on the Black Limba and quilted maple I had ordered for the "real one", and used this for a practice guitar. Made a couple of mistakes (don't we all) but it turned out pretty well. I had no problems using any of my tools on it, it was pretty easy to work with. As for the sound, it sounds pretty good, actually. More of a biting tone to it, but very nice cleans. Not overly loud acoustically, but it sure wasn't dead sounding. I say use it to learn on, you may like it altogether. I know i'll use it again, on any kind of experimenting I want to do. Just my two cents.