avengers63

Aside from missing a "t" in the first sentence, I can't see why.

Irrelevant. This is for any given fretboard.

To my knowledge, he only reason to put a finish on the fretboard is to protect it from the grease, oil, and various gunk that would get onto it from our fingers. The only reason for this protection is to keep the wood looking nice. For tone and structural purposes, there are no other reasons for it. Are these statements correct?

It is a headstock-adjusted truss rod. Hmmmm... So how would I go about finding the end of the truss rod without major surgery? Converting it to a 22-fret sounds like a good idea. This would have an added benefit of moving the bridge back further towards the bottom (the body is HUGE).

BC Rich

I'm wanting to nip off the bit hanging over the 24th fret and leave the end flush with the end of the neck. I'm undecided whether I'll leave the corners square or round them out with the end of the neck. The whole reason to do this is for a 3-pup ax I'm working on. It's a 24 fret neck with a 24.75 scale, so space between the neck joint and bridge is REALLY tight. If I can have another 1/8", even that much would help. The basic question is how much wood do I need past the fret for it to remain stable.

+1 to the joinery question. There are some big gaps in there that shouldn't be. I'd be concerned with major neck dive - not enough body weight to keep it in place. All that being said, i really like the idea. I'm doing something very similar myself, but with a different shape.

I read the tutorial about how to make your own radius blocks. It'd cost me a LOT more in lumber to make the jig than to buy the blocks. What is this "router radius jig" you're talking about? I've not seen them to buy nor in a tutorial to make (unless I somehow passed right over it).

WES: This is the exact same way you "joke" with folks here. Considering we've bantered in a similar way before, I thought your shoulders were broad enough to have it handed back to you in the same way you hand it out. If you want to take offense at someone trying to joke with you like you do with others, I can't stop you. I wasn't trying to insult you either. As I've said before, text-only communication has a LOT that's left out. I'll apologize for your receiving it wrong, but not for attempting to joke with you. MANY times, despite knowing that you're only trying to joke, I initially take your words as a personal attack. I stop and think about it for a minute, then give you the benefit of the doubt. I would appreciate the same courtesy. As for Hyssock, as I said in the thread I'm no expert on anything - he is. Folks here treat Hyssock's book like it's the guitar-making bible, so going directly against what he made specific effort to spell out doesn't seem like a good idea for a beginner. Maybe some of you CAN get the frets in perfectly level. If you can, great! You also have a ton of experience with it. I DON'T. Considering that fretting scares the sh1t out of me, when there's a difference of opinion I'd rather listen to the one everyone here considers the expert and take as few chances as I can.

Hyssock is the expert. I'm just repeating his words. If you want to say that he's wrong, you go right ahead. I hope you have something soft to fall on while tripping over your ego.

Don't need to level the frets if the board and seating jobs are done right.Believe me...none of the necks you have ever bought have had it done. that means you won't need a crowning file...I never use mine. Hyssock assured the reader that getting the frets in perfectly level is a virtual impossibility, so leveling is an absolute necessity, and therefore so is re-crowning. I think I'll take him at his word.

One thing I haven't seen addressed is the size of the shank. Is it 1/4" or 1/2"?

SHOPPING LIST: fret hammer fret bender - going home-made beveling file - going home-made Fret leveling file 6" Fingerboard leveler Double edge fret file - purpose? Fret end dressing file - for smoothing out the ends after beveling? Spokeshave radius sanding block Through using a planer, wouldn't the Fingerboard Leveler become redundant, especially when combined with a long radius block? I've been repeatedly re-reading Hyssock's section on necks/fretting. He mentioned a one-use took that you can't do without - some kind of file to put a crown back on after leveling. Was that on the list under a different name?

Yours was post #34. Wez answered that in post #32.

So let's look at it as a checklist: HAVE Jointer Planer Band saw Half of an old credit card (glue spreader) Lots o' clamps Router Rasps - I have a microplane rasp Drill press Oscillating spindle/belt sander Random orbit sander Fret cutter - Dremel Nut slot file - torch tip cleaners DON'T HAVE Fret press arbor and caul Fret bender Fret end dressing stick (strip-of-sandpaper-on-a-stick) Fret leveling file 6" Fretboard leveler 6" Fingerboard leveler (this is great for taking the sides of the fretboard down to flush w/ the neck, also for taking inlay down to level with the fretboard) Double edge fret file Fret end dressing file .023" kerf Dozuki saw (for fret slots) Spokeshave Router fretboard radius jig Fret saw miter box & 25" template 16" long, 12"-radius sanding block So of the items I DON'T have, which ones are essential?

I have a full wood shop with all major power tools. I also have a Dremel with the major accessories, such as the router base, as well as the cutoff, polishing, and sanding wheels. What is the bare minimum I'd need in tools to make a neck. I''d use the tutorials on the home page to make a bevel file & a fret bender. Unless someone has some jaws they don't want, I'd be getting a fret hammer. The Dremel can cut the frets to length and trim the ends once they're in place, as well as route for the inlays. Aside from a long enough leveling beam and a radius block, what else would I need?

hardtail bridge string through the back of the bridge 9-42 strings I can't keep a high E on this thing. I've broken 2 within 20 minutes of playing per string. One was Ernie Ball, the other Dean Markley. I've NEVER had this problem with any guitar/bridge in my life. The both broke around the ball end. Any clues or suggestions I can try?

I Am Curious Blue. Build Thread BODY: 7/8" thick African Mahogany back 11/16" thick White Limba top with 5/16" wide African Mahogany stringers LPjr double-cut shape belly cut 1/2" roundovers on front & back White Limba control cavity cover held on with rare earth magnets NECK: Larry Karosa neck Walnut neck Cocobolo fretboard stainless frets brass markers graphite nut Gibson scale length White Limba headstock inlay FINISH: grainfilled 4 coats of brush-on water-based polyurethane wetsanded/leveled between every coat top coat of spray matte finish HARDWARE: All gold with black & pearl blue accents Wilkinson Imperial tuners wraparound tailpiece Artec/GFS HB sized P-90 pickups 3-position toggle switch 1 volume, 1 tone back close-up inside control cavity down the neck up from the bottom front left front right

All done. It's REALLY light - very comfortable to play standing up. The HB-sized P-90s are nice and twangy. There is a little hum, but they ARE singles, so that comes with the territory. The tone is pretty balanced, too. The mahogany/limba gives it the bottom ind, and the walnut neck adds some snap. I honestly think this is the best finish I've done so far. I may have found my niche with the matte top coat. The grain is filled smooth as glass, but the mate really lets you see the beauty of the wood without the finish getting in the way.

Now that I'm seeing it all start to happen, I'm not sure that the tele thing is going to work. This has an oddball shape to begin with, and you added sharp bevels. THAT part looks great. A tele is a really conservative, traditional guitar, so using the bridge & setup the way it's drawn on the face.... it just looks out of place. You've made the Corvus into a kind of metal shape (again - great), but a tele just isn't metal. Is it too late to consider a H-S-S setup?

I know what ash is... I use it all the time for the bodies I put up on eBay. The grain is just a lot more pronounced now that it's carved and the rest looks more yellow than normal. I'm sure it's the lighting. Dean - here's the lowdown on the Corvus build-off. Corvus build-off thread You can skip to the end to get the final set of rules.

dude It uh.... It looks like construction pine.

Isn't Kisekae just great! I've had a LOT of fun on there in the past year. Try that color & shape, but with a tortoise p/g. It's a little dark, but the combo looks great. Hey, do the Corbass or don't - it's not really any skin off my nose. I won't say I'm not disappointed, but you were very clear from the beginning that you have other priorities that HAVE to be met first. It's all good.

What are you using (material & tools) to form the Ghostbusters logo?

Finished, leveled, matte coated, re-leveled, touched up, beginning of assembly.