avengers63

So.... how do you plan on it staying put? I didn't see any tapering, notches, or anything else to hold it in place.

Absolutely. The bridge is placed at a set distance from the nut, based on the scale length of the neck. Without proper placement, tuning and intonation are impossible. Where the tailpiece is placed in relation to the bridge (IE: a t-o-m bridge & stop tailpiece combo) is up for debate. Some will say it should be close, some say far away, some that it doesn't much matter. If your question was about scale length, then that's another story completely. That will entirely depend on what is most comfortable for you. What is likely: if you have small hands, you'll probably be more comfortable with a shorter scale, and the opposite is likely true of large handed folk.

(crickets chirping) It's just as well that nobody seems to know anything. They're going for $60-$70 each. No bargain there. I'd rather get DeArmonds for that price. I KNOW they sound nice.

You did one heck of a job. It looks great.

And I thought I was an encyclopedia of useless knowledge.

Ya know, I WANT to give it a shot. I just can't bring myself to ut just yet. I'll give the Zinsser a whirl. Thanks for all the input.

Looking into Quarter's un-explained "use shellac" suggestion, I spent some of the massive ammount of free time I have at work with our friend Google. After about 3 different key-word searches, 7-8 pages deep each, I finally found something useful. Piecing together the info from a few different sources, it turns out that redwod inotorious for two things: absorbing huge ammounts of finish/sealer, and sap. Regardless of the grade or figuring, redwood has a TON of sap. As it turns out, redwood sap takes just forever to dry up (die). Even after the wood itself has been seasoned properly, the sap can remain active for a few years. Alcohol is one of the main substances used to render the sap inert. As it turns out, alcohol is the solvent used in shellac. The main procedure is to clean the piece with alcohol to remove any surface sap, let it dry, then give it a couple coats of shellac. The extra alcohol will give extra "sap killing" power, and the shellac will seal in whatever is left. From reading Flexner's book, shellac has a shelf life. Using pre-mixed shellac bought from the box stores is HIGHLY discouraged. However, I'm not sure if I want to make the jump to mixing up my own just yet. I'll have to think about that for a few hours.

As of last night, it's tacky lines that tun exactly on top of some of the grain lines. I didn't examine the edges too closely. I didn't look at it this morning to see if anything had changed.

Without seeing it, I'd guess it all in the junk tuners, assuming the strings are all stretched out. If it won't even stay in tune when playing, the fret placement up the neck won't have anything to do with it.

KP is dead on: it is 100% optional, and mostly un-necessary. That being said, I sometimes use it. 1) Each and every protective finish, that is one which builds a hard film on top, will act as it's own sealer just fine. You could even use a thinned down coat of the finish as a sealer. 2) Many products labled 'sanding sealer', in addition to being thinned down clear coats, contain a lubricant, usually some kind of soap. This makes the product powder when sanding, thus reducing the clogging of the sandpaper, this making the sanding easier. The drawback is that this lubricant CAN interfere with the finish bonding to the wood. If it' sused, make sure to sand very well and to clean the wood thoroughly before applying the finish. 3) If you're using a penetrating finish like oil, you'll be setting yourself up for failure if you use a sealing coat. This will seat the wood, preventing the oil from penetrating, thus rendering it all but useless. 4) Get Bob Flexner's book. Read it from cover to cover. Lather, rinse, repeat.

I posted this in another thread about some on-guitar woodworking, but I figured 1) I might actually get it answered here, and 2) others might benefit from the answer easier than in a non-guitar thread. I applied sanding sealer to some highly figured redwood, let dry for +/- 20 hours, sanded with 220 grit, and had the residue/dust wiped clean with mineral spirits. A full day later I find tacky wet lines along some of the grain and along all four edges. I think I have sap. If that's what it is, how will this effect the finish? My only two options right now are lacquer and poly. I'd rather use poly on it just because it dries to a usable hardness a LOT faster than lacquer. But, if lacquer is better with sap (or whatever else it might be), lacquer it is. If it isn't sap, what would be your best guess as to what it is, and what to do about it?

It's kinda the same for me. If I enter something into any given contest, I'm hungry for what's going through the judges minds. Generally speaking, ANY constructive criticism is a good thing and should be welcomed with open arms. I know I want as much as possible. Fresh ideas or different perspectives will only serve to help me. Since that's what I want from folks, I try to give it whenever I can.

Hey DJ, yours was well worth every vote it got, as well as a few it didn't. It's really tough to compete with the clear finished quilted/sunbursted/exotic guitars that win nearly every month. I just looked through the GOTM archives. (side note: there isn't a link to the 2008 archive on the home page) From August 2005 through the end of 2007, only 3 GOTM winners were painted a solid color. I don't remember any in 08, but w/o the archive, I can't verify. 3 out of 32 were either natural, bursted, or stained quilt/flame. Thaing THAT into account... I think you made a great showing for yourself. Like I said, were it not for pukko, I'd have voted for you.

The bottom line really is that if it's going to turn, it's going to turn. The best we can do is take preventative measures, like using marine/spar finish and limiting the exposure to light. Of course, this doesn't bode well for the purpleheart/bloodwood picture frame I made for my mother-in-law.

I've been seeing some old Kay "speedbump" pups lately. They have me curious. Does anyone have any experience with them or know what they'd compare to?

No, that's lovely! The simplicity of that body is really beautiful. You are a good man, Geo. Glad we see eye to eye! There's a dang good reason that the same basic shapes have been selling consistently for the last 60 years. The simple, classic beauty of the Strat, LP, and Tele are undeniable. The PRS & SG are just more variations on a theme. Even in many of the BC Rich bodies, you can see a Strat or Tele. No, you can never go worng with something that's been proven to stand the test of time. On a different note, Strats & Teles are kinda like a VW bug. I know... I've said this before, but it's still true. You can paint those shapes however you like and it'll still look right. VW in lime green with purple racing stripes? Looks great. Strat in the same scheme? Yep. On the other hand, try and make a Les Paul in fuscha with a H-S-S setup & a Floyd Rose. While the color might be garish, it'd be OK on a strat, but not a LP. That makes a Strat or Tele a LOT more universal.

Thanks guys. You're right - the "profit" isn't that much in comparison to the work done. But, time spent learning sonething, which this largely was, is never lost. Considering that I'm not in this to make a mint, it's more than I was anticipating, and I'm not dealing in the most seller friendly marketplace to boot (eBay), I'll take it with glandess in my heart. WezV & fryovanni: Thanks for the support. Whether or not you personally agree with what I'm trying to do, you're making suggestions to help me do it as best as I can. I appreciate your support and positive input.

The Seymour Duncan website has a ton of wiring schematics as well. My main ax has 2 HBs and a 3-way selector. Both pups are wired to go series & paralell and there is a phase switch in between. When it's all said & done, I have 9 separate tones. Honestly, there are a few that are pointless. The difference between the tones is so subtle that unless you know what the setting id, you won't know the difference, and then only if you're listening. On top of that, if there is more than a medium overdrive, those subtle differences become even more obsured. So... in my experinece, there is only so much you can do before it just becomes silly and pointless. Don't get me wrong - I like the extra switches and wiring tricks. I'm just saying that it's easy to go overboard. One dude here had it figured out how to get 20+ tones from 3-pup setup. You'll never convince me that they were clear and discinct, but technically, they were different. There's an old acronym: KISS. Keep It Simple, Stupid. My suggestions for a H-S-S setup: normal 5-position switch jumper between the bridge & neck pup so all 3 can be on, or just the outside 2 phase switch on the middle pup series/paralell or coil tap on the bridge This can be done without extra drilling, just swappping out some pots. You'll replace one volume for the jumper, one with a push/pull for the phase, and the tone with a push/pull for the bridge HB. This will give you 15 separate options. Observe: The numeral is the number of coils active, p=phased 1-- 11- 1p- 112 1p2 111 1p1 -12 -p2 -11 -p1 --2 --1 1-2 1-1 There won't be much of a difference between some of them, but it'd be there if you listened hard enough. IIRC: The purpose of the r/w middle pup is for hum-cancelling, but I may not have that right.

What a shame that you're wrong. The mahogany and sapele were bought specifically to be used in bodies. I was well aware that they have been used for ages and have a proven track record. Likewise, the chechen was bought specifically to be used as a top. I won't deny that I wasn't exactly sure how they'd be assembled until I had them all, but the original intent was always to use them in bodies, and that I DID pick them for their qualities and tone. Listen, you can disapprove of it all you like. That's your perogative. You can even refuse to admit that you don't like seeing me succede and get a result beyond my goal. You can try and burst my bubble and take a #2 on this all you like. You can even try and put words into my mouth that were never there. You're not adding anything positive, which means the only reason to do these things is to run me down in some way. I've lived through this attitude for 11 years in my ex-wife, and I recognise it a mile away. I also know through bitter experience that arguing this with you is pointless, therefore I'm done responding to you.

That's a fair assessment and a very reasonable suggestion. The pocket dimensions are the same: 2 3/16" x 5/8" x 3", which is the standard Fender pocket size. It's a good point about the square pocket vs. a rounded pocket. I'll have to remember that in the future. I honestly don't remember who/why this one ended up square, but that won't be happeninf in the future.

For all you nay-sayers out there: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...E:IT&ih=007 I was looking for the mid $60's. It hit $91. Once all the fees are assessed, it ends up selling for about 45% over cost.

Bingo! We can debate looks and preferences all we want, and that's great because it sparks ideas, but when it's a comissioned piece, it's all about what THEY want. But there's nothing wrong with trying to talk them out of a bad idea.

No, these are what I'm meaning. http://store.guitarfetish.com/gfsnyodestsu.html http://store.guitarfetish.com/gfsnyal3sumo.html The alternate would be getting a pair of DeArmond pups on eBay.

I suppose that might depend on what the dude who buys it wants to do. Like the other bodies I've been doing, it's going on eBay. I can always make myself one later if I really fall in love with it. It's not like there'd be anything overly difficult about getting these two woods again. FWIW: I'd be 100% OK putting a pair of P90s in it with a white p/g. I might be tempted to put some GFS DeArmond copies in it instead of soapbars. For some reason, I'm liking the idea of those quirky top-mounts. Too bad I have NO IDEA what they'd sound like.

Yea, I made a small box from some thin stock I had, so I know how hard it is. That's why I'm not figuring to do as little machining to it as I can. For the shape, I'm thinking anout an LPjr. I haven't done a double cutaway yet, so why not.