Southpa

Of course I make sure things won't slide around. Since my truck has a wooden deck I can temporarily screw a piece of wood down beside the amp. You could also get a collabsible brace, similar to what professional movers use. Pack everything in the front of the box, insert the brace against everything with the rubber, non-slip pads locked on the sides of the truck box.

I have a roadcase for my Musicman 210 - Sixtyfive. Its got lots of foam padding lining the inside. Of course, in the amp's upright position the tubes (original EL-34's) hang down so I load the case into my truck upside down with the wheels facing up. That way there is no chance of the tubes getting rattled loose.

My first guitar pick was a plastic tag from a loaf of bread. I prefer thin gauge picks, best for strumming, and a heavier pick for fast flatpicking. I also use metal fingerpicks ala banjo style quite a lot when playing slide.

Yeah, its a great source of info. The most fascinating aspect is the fact that all the early guitar colors used the exact same Dupont paint codes as GM cars of the same era. BTW, welcome to the board Dix!

The older guitars were likely finished with nitrocellulose laquer which was celluloid based. Those old finishes had bad color retention and were very susceptible to UV rays and checking. Later on the company(s) switched over to acrylic based laquer, more UV resistant and better elastic properties than nitro so less yellowing and no checking. Lots of good info here: http://www.provide.net/~cfh/fenderc.html The site revolves around vintage Fender guitars but, regardless, there is some VERY accurate info about paint used on guitars in general. They say if the guitar has a nitro clearcoat it will yellow somewhat regardless of whether or not it sees the sun or is exposed to smoke. Nitro yellows over time.

Acetone is wonderful stuff! Its a super solvent and I can't think of a better one aside from Brake cleaner. When I was working on fibreglass boats we used it exclusively for cleaning brushes and troweling tools. It feels cold to the touch because of its extreme evaporative properties. Sort of the same cooling effect you feel when sweat evaporates from your body, but more intense. A lot of paints and fillers are acetone based because it gasses off (cures) quickly. If you want to find all the cuts on your hands try washing up with laundry detergent...STINGS! The one you want to watch out for is polyurethane paint which contains isocyanates. The paint provides the best finish and is extremely durable. But I was told that if you want to use it without exposing yourself to isocyanates you basically need some form of self-contained breathing apparatus. There are no known filtering systems/masks that will prevent isocyanates from entering your lungs. http://www.osha.gov/SLTC/isocyanates/

That looks like fun! I also like the results. OK, the big question, where can I get this holoflash material and at what sort of price?

I make mine out of 16ga. stainless steel and polish to a mirror finish.

I've added my method of fret levelling/dressing to one of the tutorials. It works well for me and might do the trick for you. http://projectguitar.ibforums.com/index.ph...t=45#entry86756

I first picked up a guitar in earnest when I was 15, I'm now 45. Been thru too many guitars to count and the learning experience has been a long, rocky series of plateaus. Its something we can all expect. Q: Am I good? A: Would you like it if I was? All of those stagnation periods resulted in trying something new to keep the interest alive. So I'm considered a jack of all trades, master of none. A friend actually told me that I have "deep pockets". I guess he was referring to versatility. Every little bit counts, .

I bought the regular steel fretfile a while ago and wasn't really happy with the performance. I get better results from my trusty triangular file with 2 edges ground smooth. I've been told that the true diamond fret file carried by StewMac will crown a fret in only a few swipes. I can see the expense being worthwhile if you are in the biz and are doing fretwork all year long. But I won't spend $70+ for a tool designed to do only one thing and will be used maybe 3X a year at the most. Each to his own, I'm proficient enough with the triangle.

I would have to assume its just considered 2 separate guitars with a master switch bewteen the two. Everything routed to one output jack. As far as volume and tone pots, they are switched over separately between each "guitar". I found a pic that will give you an idea of the basic layout. http://www.ntw.net/~w0ui/family_webpage/pi...275_setup1a.jpg

I was sorting thru and organizing all my guitar related files and came across this set of instructions I made last year for someone. This is my basic method for fret dressing. I'm sure others do things differently with different tools. Feel free to add anything that might be crucial. As I don't have much experience dealing with bound necks there might be something to add in that area. I hope this recipe might help those who are not sure of how to go about refurbishing their frets. Fret dressing Tools leveller - 6" to 8" long stone (course/fine) or ft. long fine bastard file black marker triangular file (2 edges ground smooth) masking tape 1 ft. long steel ruler 3" long steel straightedge 400 grit sandpaper 600 grit sandpaper 1200 grit sandpaper 000 steel wool hobbiest's hammer Optional tools but not really crucial sanding block with matching fretboard radius diamond fret crowning file from StewMac stainless steel fret protectors fret press Assessment This can only work on guitars that have fully functional necks. If there are any problems like severe backbow, twisting or truss rod doesn't work etc. then you have to address that problem before fret work. Neck Your best results come from working on a straight, flat surface so you have to first see where the neck is at and then adjust the truss rod accordingly to lower the relief to as near flat as possible. I like to leave the strings on the guitar at this stage because its easier to decide WHICH WAY and HOW FAR to turn your trussrod to achieve no relief. Remember the string tension adds a bit to the relief so you don't have to turn as far as you think. Remove the strings and double check for overall flatness with the steel ruler. I like to work with a lamp for backlight, then you can see light shining thru at the gaps. See if the ruler rocks on any high spots, could be on individual frets also could rock across a group of frets = BACKBOW. If your neck is backbowed then you have to work out some way to get it flat. Most guitars are built with a single truss rod only allowing for forward curvature, loosening entirely just renders the neck straight (if adjustment nut is at the body end of the guitar), at least thats how they are supposed to work. I like the bi-flex truss rod (double rod) which allows for correction both ways. If its a slight backbow you might be able to work around it and string/trussrod tension can set it right. A little tightening on the truss rod might fix it. If you have a severe backbow, and trussrod adjustment isn't enough, you have to fix that before continuing. Clamp it, heat it, steam it whatever it takes. Frets Visual inspection (of course) for: dimples/indents caused by habitual tight vibrato motion at the same place. Flattened areas from repeated bending in all those "sweet spots". Overall lack of height from previous fret dressings. This is where you have to decide whether or not a few frets need replacing, a total fretjob is needed or just a dressing will do. I'll just continue with the dressing assuming there is still some "meat" left on the frets and they are all firmly seated. Just in case, check around with the 3" straight edge, spanning 3 frets at a time, for high or low ones. You might find one that needs to be tapped back down. Or you might find a few that need to be replaced. I can't really say in numbers how low they have to be for replacement. Thats up to you, just compare with the others. Dressing 1. Double tape the wood fretboard between the frets. 2. Ink the top of each fret with the marker and support the neck firmly and evenly. I like a folded up beach towel. 3. Run your stone, file or sanding block (w/ 400 sandpaper) along the fretboard while curving side to side to follow the radius. Even pressure, steady speed, even contact throughout. Keep an eye on how the marker ink wears away. Ink still showing = low spot. You have to continue until that ink is gone working EVENLY over the whole neck. Don't just concentrate on that low area. This is where the results of your initial assessment are important. If you feel you are taking too much off the other frets then that low one should have been pulled and replaced first and then filed down to match up with the others. 4. Re-ink the tops of the frets. They should each have a small flat, coarse landing on the top. 5. Now you want to recurve (crown) the top of each fret. I've been told the diamond file will crown in only a few swipes, but it IS an expensive tool. I use the triangular file with good results. Use the surface of the file with the 2 dulled edges straddling the fret. This way you can touch the tape on the fretboard without tearing it and eventually messing up the rosewood or whatever is underneath. Run the file flat along the fret while "curving" it EVENLY up each side, end to end and crosswise. Eventually you will see the ink disappearing. Stop when you see just the faintest line of ink running down the exact center of each fret. 6. Rip a small piece of 400 grit paper, fold it and smooth the top of each fret by sanding end to end. This should take out the heavy scratch marks left behind by the levelling and crowning process. 7. Repeat with finer grits. 8. Polish with steel wool. 9. Tear off the tape, restring and setup. 10. Play that gitbox! End note: If you have a crappy little noname guitar laying around its good to get a little practice in on that before messing with your $2000 LP.

I have to assume it can be done on any kind of cab so long as there is a way to attach the material. I'm not sure if you can tie-dye velvet, its kinda fuzzy, isn't it? Anyway, I have no clue, why not give it a whirl and let us know how it works!

Depending on the original thickness of the stock you are cutting from, you can get away with cutting less length. This will involve taking material off the top of the headstock and the back of the neck later on. You can see from this series of pics that only cutting about 1/3 the length of the top of the actual headstock will do the trick. This will bring your joint about even with the area where the headstock angle begins.

I sold that amp a few months ago to pay for a balljoint for my truck. The front covering is a piece of cotton fabric, basically T-shirt material, that my friend's wife "tie-dyed" for me. Yes, just like the psychedelic hippy stuff from the 60's. The red tolex on the amp was original (early 70's Japanese Teisco all tube, about 25 watts) Not a lot of power for a 2X12. You can buy tie-dying kits from most stores that specialize in knitting materials, fabrics, etc. with instructions. The silver face grill cloth on the amp was badly stained so I opted to cover it over. The grill cloth was stapled to a frame that was screwed into the cabinet. I just took the frame out of the amp and stapled the new cloth around the back edge. It has to be stretched evenly to avoid wrinkling. Over time the lighter areas will yellow a bit, but that might be because of the smoke filled atmosphere I live in at times .

Sure I know how to relic a guitar, play it for about 20 or 30 yrs.

If all wiring connections look solid then the next step is to check the wires themselves for continuity. Use a small hand held multimeter and set it on resistance (ohms) and touch the contact ends of each wire. If you get a reading then the wire is ok. If you get infinite resistance that means the wire is broken. Multimeters are real cheap and good for all kinds of other applications too so its a good investment.

I guess I'm relatively lucky in that area. I have an ACAD program and use pre-existing drawings, hopefully drawn to scale, or I'll draw my own. I then email the drawing(s) to my buddy at work who has access to a 36" plotter. He prints it out for me and I give him smoked salmon and beer and let him play my guitar when it is done.

It depends on what type of material you'd like to use and what sort of equipment you have available. I'm sure there are more options if you have a compressor/sprayer setup. But if you are a rattle can guy like me and want to use laquer, ya better scramble to the autobody supply stores. I learned that many of the stores near me (in Victoria, BC) won't be carrying laquer in rattlecans anymore. The basic reason I was given is because it takes roughly three times the number of laquer coats to attain the same thickness as one coat of enamel. There is simply no demand for it in autobody application anymore. I guess there are also environmental reasons if you look at the big picture. I managed to scoop the last of the high gloss clear laquer (2 lousy cans) from a few of those places and got one can of semi-gloss black, but thats it. I guess it will be back to polyurethane when that stuff is gone. Also, if you need paint go to the paint store. Most of those guys are pros and if you tell them what you want to do and what kind of results you are looking for they might be able to fix you up. And hopefully they won't tell you that you have to buy the whole gallon!

Heres another great place for buzz diagnosis. Its gotta be one of them. Good luck.

Don't know the RG550 but if you were to just start unscrewing screws and methodically taking pieces off the guitar I'm sure you will find where the necessary wires are that need to be unhooked. You may as well go out and buy a soldering iron (dirt cheap) because you are going to need one to put it all back together anyway, even if you decide to clip the wires off beforehand. Set up a labelling system (maybe little pieces of tape) for each wire so you know where they are to be reattached. Its not rocket science, sorry, there are no tutorials I know of, you'll just have to figure it out. If you are really that unsure of what you are doing, but have a good handle on the finishing end, I would suggest you find someone who is more mechanically inclined and have them strip and reassemble the guitar for you.

I had success with Circa 1850 in a rattlecan.

It depends, every tool has its use. The optimum for cutting a body blank out of a 2" slab is a fast, strong bandsaw with a relatively narrow blade for getting around tight curves. Using other tools like jigsaw, scroll saw, belt/roller sanders etc. depends on how good you are with them and whether or not you are in a rush, it WILL take a little longer and you MIGHT have to do some squaring and levelling to correct imperfections.

GregP, I have the Mastercraft spinsaw minus the disc sander. Works good, pretty strong but the freehand attachments are so so, made of plastic. I like the remote cable attachment for dremelling. I was doing some routing the other day and found that the bit kept slowly sliding out so I guess the collet inside is wearing down. I will have to buy extra 1/4" collets. And it works best for routing at the higher speed setting, ie. 30,000 rpm. I wouldn't use it for initially cutting out a body shape, but its good for edging, cavities, etc.