avengers63

Does anyone have any testimonials about the quality (or lack thereof) of Eden necks? I did a search for "eden neck", but nobody had an answer.

Why would you need to paint the headstock just because you inlaid the logo?

My first was a Memphis. It was a real P.O.S. I traded a dude at school dead even for his no-name explorer. Sometime after the first year, I bought an SG with Duncans in it. I have NO idea what they were. I got a Steinberger for High School graduation, but I had to trade in the SG. I was better off with the SG. Steinbergers have really narrow necks. I have huge hands. It wasn't until I got my Carvin kit (wide neck) that I knew the difference. I always thought I just played badly. It turned out the neck was too narrow for me and I couldn't play well on it.

This is so untrue and insulting...every time I hear it the ignorance of the statement can't help but raise my hackles a bit. Don't it seem that when someone makes a general statement, the exception to the rule steps up just to prove him wrong? Nothing personal Wes... no offense intended, none taken. No, the players I was referring to are the ones that grab a Boss Metal Zone (MT-2) or something similar, push the distortion all the way, pull the bass & treble, and scoop the mids all the way out. Add an invader pup in the bridge (which is bassy to begin with), and a lot of palm muting, and you have a recipe for what I was talking about. At that point, the guitar becomes more of an intoned percussion instrument than a traditional guitar. If that's what the player wants, then that's great for them. I like that once in a while too. All I'm saying is that when you do that to the signal, the wood tone is pretty much a moot point. Um.... I started it.

Dude.....

Nah. You'd loose the 'cool factor' of having a mostly-hidden volume knob or kill switch.

It's totally functional, but I don't think it's a good idea. At absolute minimum, there should be a kill switch somewhere. There are a couple dozen reasons that could probably be thought of why, but the main thing is there WILL be a time when you'll need to "turn it off". A simple push button or mini-toggle by the jack would keep it looking bare of controls.

I get what you were trying to say, and I did see your original post on the topic. Thanks for the input. On the "prove a point" issue - there will never be an end to it. It's sad to a point because the whole thing is so subjective that it renders a debate completely pointless. My viewpoint is along these lines: Certain woods aren't used, neither by the big manufacturers, the small luthiers, nor the hobbyists. It seems that there should be a legitimate reason for this, and I'm hungry to know what that reason is. In solid (not ply) woods, it seems the generic answer for why a wood isn't used is either structural or cost. A secondary reason would seem to be the stigma attached. Everyone knows that pine is dirt cheap and isn't used, therefore it must not be worth using, therefore any ax made from it would be crap. On a tonal note, why would a metal player CARE about the delicate tonal qualities of a piece of wood? They generally process the signal to the point that tone from the wood is completely absent. But in the end, it all comes down to the players subjective viewpoint, so that point is useless as well. In the end, it's all pointless. "So I saw that there is nothing better for a man than to enjoy his work, because that is his lot. For who can bring him to see what will happen after him?" I guess I'm in kind of a mood today.

I was only wondering about oak.

That certainly gives credibility to the thought. An ounce of research says it was made from an old fireplace hearth or something along those lines. BTW: Did y'all know that Brian May has a PhD in astrophysics? That's right, he's a frikin ROCKET SCIENTIST! Just exactly how cool is that!

Ash & oak are in the same family. While they have differences, they have many similarities as well. So why isn't oak used in guitars? Is it a weight issue? Has this ever been debated?

Zebrawood Top LP All done and reasy to go http://i243.photobucket.com/albums/ff15/av...P1/frontdry.jpg http://i243.photobucket.com/albums/ff15/av...LP1/backwet.jpg http://i243.photobucket.com/albums/ff15/av...LP1/backdry.jpg http://i243.photobucket.com/albums/ff15/av...63/LP1/side.jpg A special thanks go out to weaponepsilon for hooking me up with some LP back plates. Bubinga PRS Nothing to update. I've been working on a couple of boxes for the last two weeks, so there hasn't been much progress. This weekend, maybe tonight, I plan on giving it a forearm bevel and a belly cut. I'm also thinking about rounding the horns a bit. We'll see. After that, it's hog out a control cavity and she's done. Re-Paint The blue is all finished. I'm applying the poly now. I'm figuring 2-3 coats should do it. Tulip It's still being re-painted yellow. It's been either rainy or too dang hot to go out and spray very often, so it's been slow goings. Other Planning I got in some 8/4 Sapele, 8 1/2" wide. Still undetermined what shape. I was wanting to do a Firebird, but without a FB pickguard, I can't be sure of the pup switch placement or the wiring chanel, so I don't think I'll be going that route just yet. Maybe an LPjr or another PRS with a carved top.. The Longhi/Bloodwood will be getting done next week. I'll be going for an LPjr. I'm thinking about trying out some SG-type bevels on it. As discussed in a different thread, I'm carefully planning a pair of LP bodies with burled redwood tops.

Cool. I hope I wasn't sounding dense; I just wanted to be absolutely sure of the best way to do it. These two bodies are going to take a lot of work, and I really don't want to re-do anything or dork it up. I'm anticipating these redwood burls to be a bit unforgiving, so any mistake could be amplified. Thanks for keeping me on-track and for the added explanations.

This is really common. It can be really frustrating at times, but it's just the way it is.

+1 Lock me in the basement with my wood, tools, and my mp3 player and leave me alone and I'm a dang happy guy.

That's what my gut was telling me, but I was needing someone else to say it. So what's the advantage of superglue vs. titebond? I'm not steping on your suggestion, I just need reasons. FWIW: It's plastic binding, not wood. Were it wood binding, the clear andwer (in mt mind) would be wood glue. Also, just to be 100% sure, you're saying to securely tape the binding into place leaving an exposed spot, and THEN put a couple of drops of SG onto the seam, letting it seep in? Why not put it on the binding, then strap it onto the wood?

I've been wondering if anyone had the gumption to do a bookmatched fretboard. Go figure it'd be you.

So what's with the 5 month layoff?

That's what I was able to get from the various websites as well. As for penetration, here's the directions on the lable: DIRECTIONS NOTE. The wood should be roughed carve or turned first in order to obtain the best penetration. Add 15% POLYCRYL to hot water and mix well. it is important to use a very weak solution at first. This will allow the next application to penetrate deeper. Apply a liberal amount of POLYCRYL solution to fill in the open pores until the wood will not absorb anymore POLYCRYL. Keep the wood wrapped in a plastic bag allowing the solution to penetrate overnight. Each day, increase the solution by an additional 15% POLYCRYL and again wrap in plastic bag and allow it to penetrate the wood overnight (it is very imports to keep the wood wrapped in plastic until the process is finished.) Repeat this procedure until the wood will not absorb any more POLYCRYL solution. (Note: a solution of up to 50% of POLYCRYL can be used for extremely soft or punky wood.) After wood has dried, it must be seated with a finish. The reason for wrapping it in a plastic bag is to slow the drying process and thus reduce the possibility of warp or other contorting of the piece. Putting it in a closed box was also suggested. PERFECT! That's exactly what I was looking for. From what little I've seen, not very. Combine with it the fact that it's a burl, which is delicate in hard woods, and you can break 1/4" stock with stiff finger pressure. That's why I'm 1) wanting to harden it before working with it and 2) I'm putting it on an 1/8" backer. Where we're at: the original questions 1 & 2 have been answered to my satisfaction. 4 has been hinted at, and 3 has yet to be addressed at all. So... what glue do y'all use to put on the binding? I'm guessing that titebond would work, but if there's a better option that's cost effective, I'd rather go that way.

It looks to me like a depth stop. I'd suggest that if the body of the pot were clamped hard against the cavity or pickguard, it might interfere with the free movement of the post. Or not. It's just a guess.

If these plywood builds go as expected, the experiment should blow up their arguments anyway. Remember the chipboard guitars someone here made last winter as a tonal experiment? IIRC, about 50% of the listeners couldn't tell the difference.

Yep. And I know that I'm a few years away from taking up that challenge. That was what I was meaning for the chamber. BUT - I was questioning the thickness of the walls/back of the body after chambering, not the thickness of the top. But the top thickness is helpful too. I hadn't considered that one. With a quick look into it, I believe you're right. Polycryl is meant to stiffen & stabalize soft punky woods like burls & spalts before turning. With this in mind, I'm sure it would be more than adequate for routing & planing operations.

A solid center was indeed my intent. I was probably going to go with a big U around the core. AAAHHHHH!!! Heck NO, man! I'm WAY not interested in that. The most I'd even consider at this point is a carved top with f-holes - which I'm NOT thinking about on this one. Just a chambered flat-top.

I didn't see the original message, but I was meaning the 'speedbump' pups like these: http://www.gravitystrings.com/images/60...ickup%20001.jpg

I'm planning out a pair of bodies, one of which I'll be keeping. They're essentially the same. Here's the plan: LP or modified LP style mahogany or sapele body - 1 5/8" thick chambered body cavities 1/4" burled redwood top - laminated to 1/8" mahogany or sapele backer for stability binding - most likely cream bolt-on neck So here are some things I'd like some clarification on: 1) What is the minimum thickness for the back/sides before it needs bracing? I'd like it to be lightweight as possible, but still structurally sound. 2) Should the redwood be hardened with sealer before the routing? I know that figured redwood is soft and that burls are delicate. Combining the two seems like a recipe for massive tearout. If sealing it with as much shellac as it will take (I know that it's 'thirsty' also) isn't the hardening answer, what is? OR... if hardening it before routing isn't the answer, what is? 3) Which adhesive would normally be used to glue the binding into place? I've seen binding tape or big rubber bands to clamp it in place, but it's the glue I'm concerned with. 4) Knowing how delicate burls are, is it OK to use my thickness planer to get it level & to thickness? I'd hate to see it get shredded into little Burl McNuggets by the machine or to see a chunk ripped from the center.