Geo

If the fit is sloppy, you can slide some veneer in there when you glue it up.

Given the footprint of a Strat neck pocket, a solid glue joint should be entirely possible, IF the bottom of the neck pocket is perfectly flat and the bottom of the neck tenon is too, and the sides are perpendicular in both places. The area of a Strat neck pocket can't be much different than a typical scarf joint, and those hold up just fine under 200lbs of string tension.

The body looks amazing! Great combination of shape, stain, and ash grain. Yes, you can use that in a song.

Keep up the good work.

Can't seem to get enough of the wire free to re-solder.

I would try to unwind a turn or two of the coil. If it's well-potted though, that may be impossible. Worth a try, since you can't screw it up any more than it already is.

Looks good! Usually I wouldn't like the combination of multiple reddish woods, but it seems to work here. Bloodwood is one of my favorites, mostly for the smell!!!

does any one know how to wire a 1 volume(shadowkillpot as volume) 1 tone 3 way switch with a HH (toneride generator) pickup set? i have done it how i think it should be but the kill switch seams to interfere with the pickup switch

How does it interfere?

I would put the killswitch right before the jack. Use SPDT and put it on the hot wire so that one position connects hot to the hot tab of the jack, and the other position connects hot to ground.

Sounds like both the input and output transducers are shorted.

Why is there a quarter in one picture, to prove it's a full-size guitar?

Beautiful work!!!! The cedar and maple look great together. How does it sound?

Difficulties I see:

1) routing the channel--would need some kind of floating jig like they have for routing binding channels on archtop guitars

2) will the wood binding "bend down" to follow the contour of the forearm carve?

If you weren't doing it to destroy the guitar, I kind of like the idea.

Amazing! Kudos for not settling with the top.

As other people have said, doing a neck angle is not hard. Just build a jig, or cut the angle into the heel, as killemall suggested.

Disclaimer: I am not responsible for the bending, warping, breaking or otherwise misshaping of one's mind. Such occurances are the result of one's complete immersion into all things guitar. There is no known cure.

True... I have no one to blame but myself for my warped mind.

You could always find the center line of the body, and line that up with the center line of the neck. Good luck

+1

Do this first, but don't route for pickups or drill for the bridge yet. Test fit the neck, then stick a straightedge on either side of the fingerboard and mark a light line down the length of the body (i.e. extending the fingerboard profile down the body). Now get your centerline from these two lines, and you will be guaranteed to have the bridge, pickups, and strings line up properly.

The thinking behind this is that if bridge and pickup positions are determined by the ACTUAL neck alignment, it won't matter if that actual neck alignment is a little off from the centerline.

You are seriously bending my mind with the pickguard/body shape combo!

Nice work!

If your radius at the nut is smaller... as you go down the fingerboard and the radius gets bigger, so is the thickness of the soundboard right? and wouldnt that cause trouble getting low action? IM sure im missing something obvious but it just dosnt seem to make sense to me yet. Thanks

Think of it as adjusting the angle of the playing surface in the same way that the neck angle adjusts the angle of the playing surface. You just raise the bridge a little, as if the neck had been angled back slightly more. The effect is the same as far as the top surface of the fingerboard is concerned.

...assuming I understood your question.

If you're using a SPDT ON-ON-ON switch, it should work like a normal LP switch (assuming you wire it correctly). If it is ON-OFF-ON, you will have no combined pickup option, and switch in center position will cut all signal.

It looks like a chunk is missing from the top. If that's the case, here are your options, as far as I know.

1) You still have the piece that came off--glue it back on, it will be an exact fit

2) You don't have the piece--remove just enough of the top to cover the footprint of the damage. (Cut all the way through the top so there is actually a hole when you're done.) Carefully craft a new piece of spruce and glue it in. Reinforce from the rear with a patch, the grain of which runs 90 deg. to the grain of the top.

3) Leave it how it is. It doesn't look like a structural problem.

Good luck.

It looks like you're off to a good start. Just take your time and research any process that's unclear to you, and you should be quite happy with your project.

sounds like they're single coils which cancel hum when combined....

Yeah.

Walnut is fine for a neck.

I don't know anything about silver birch. If it's anything like the birches we have in Ohio, it's probably fine too.

That's a possibility, but unfinished means less stable because more moisture can move in&out right?

I don't think that should matter on a solidbody. If you were leaving, say, the endgrain of the neck unfinished, that might be a concern.

I've always left the cavities in solid bodies and the interiors of chambered solidbodies (with F-holes) unfinished. I've never had any problems, but then again, my guitars are only a few years old at this point.

Those arpeggiated harmonics sound amazing! Does your design do that automatically, or is that in the signal processing, or is it in your playing technique?

Bravo, regardless!!!

I vote natural finish, no maple top, and bloodwood fingerboard. Sounds tasty to me.

I don't have specific insight for you, but I have used a 22" custom truss rod in a short-scale (30") bass. I got it from LMI. Their custom truss rods don't cost extra, although they take a while to make them.

http://www.lmii.com/CartTwo/Secondproducth...ds%2FNeck+Parts

Go bolt-on for a first instrument.

I get it, some people love their set necks... Really, neither is superior. They are just different, and they SOUND different. In my opinion that would be the biggest determining factor--what kind of sound do I want?

Has anyone ever seen a bolt-on joint fail at the bolts? No? Then it really makes no difference if one is stronger than the other. For the purposes of the instrument's lifespan, they are equal because neither ever fails (unless you execute something wrong).

If the crack isn't too wide, I wonder if white glue in there would close it up? I.e. the moisture from the glue might expand the wood enough to close the crack, and once the glue is dry, the crack stays that way. But maybe that's wishful thinking.