This could be git related or not. So, what's on your workbench at the moment?
I have 4 scarf joint necks in different stages of work.
A 25" scale pine 5 string neck for a Banjo-Res, A 25" scale Red Oak neck for my 6 string Strat-Res build, A 24 & 1/2" scale Red Oak neck for my 6 string Double Cut Tele build and a 27" scale 6 string Baritone Conversion neck for a Modern Strat body I have.
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Hi Paul, re wiring.No nothing yet, been looking for manufacturers spec's, I'm not savvy enough to work it out with all the wires going the the"black box".
I have a huge folder of different wiring diagrams, I'll have to wade though them.
Taff
Part Four.... The Pine Project.
Finishing the neck. Fitted the truss rod - inlaid a hardwood fillet glued over the top - put two small pins/nails in neck cut at an angle - glued and positioned the fingerboard - clamped down using special radiused gluing caul.
When I cleaned up everything I found the neck was way too thick and "clubby" , so recarved it.
It still weighs 100 grams more than a maple neck. I also found out that I had bookmatched two pieces of the pine for the neck, this job was started about 18-20 years ago and I had forgotten that.
Great job Taff.
I used to have a spokshave, but it disappeared from my tool shed one day. One day I'll get another one.
There's so many wiring schemes for Strat's that it boggles the mind.
That's a nice project Francois and clever use of big lego blocks. ;)
Definitely. It's actually my mom who asked me first if it would be a good idea to use them for that. I thought it was just genius. So when I go garage sale hopping, I stay on the lookout for cheap Lego copies (like MegaBlocks). They're also easy to stack to support things that have an uneven shape :)
Hi Daniel, detuning. When I put the capo on - I play with a capo a lot to add some variety - I was tuned to Gdg, the capo raised the pitch to whatever at the 3rd fret position, for the demo I slacked the strings so as to have them back to Gdg again at the 3rd fret posi. The strings just slipped back under the capo. Bit like a loose locking nut.
Taff
Thank you Taff, I really appreciate your time and info. i did realize the scarf had to be further back, the whole idea of "tilting" the headstock. I love the volute. I'll need to digest the info from you and Paul. I get by fine, just wanted to know how to do it the real way. Sometimes I make two "layers", one with the fretboard and a thin piece supporting it, then the neck layer would extend past the fretboard, giving me a faux tilt needed. Looks like the volute is created by adding extra wood to the head stock, or leaving extra wood on the neck piece then shaping?
Hi, yep that's a good explanation by Paul of how he does his. Mine is a bit different and I use it for two main reasons, maybe more.
I put my scarf joint at the peghead with the joint glue lines under the nut area and up in the middle of the peghead. I think there is more gluing area across the face of the peghead.
I always like to overlay the front and back of my pegheads on my full acoustic guitars anyway, with a hardwood veneer 1mm thick or so glued to both sides of the peghead. This I feel adds extra strength and conceals the glue lines of the joint. If I do not overlay the back I blend the neck and peghead at the visible glue line behind the nut, disguised by the carved line of the volute. Photos may give a better idea.
Taff
That's ok Daniel glad to help. I have a photo library of over 3000 photos of repairs and builds I have done over the years, so its good to share my experiences. It also refreshes my memory too.
I found some photos of the neck prep/shaping. I know I could make a jig and use my router but I still do it this way.
Also shown is the splicing set up, adjustable for different angles, and my gluing up jig to save the two parts moving north and south whilst clamping.
I have the fretboard the correct size and the neck a little over size, glue them together and carve the neck blending it to the fingerboard, that's tapered necks. Straight neck they are both the same size.
Tip: Two very small nails in the neck face nipped of with a point just above the surface will prevent f/b from slipping whilst clamping. Do a dry run first to put the nail imprints into the F/b.
www.stewmac.com/How-To/Trade_Secrets/How_to_set_the_height_of_your_...
Here's a great little video on setting pickup heights. Putting the pickups as high as they can go will give you the most volume output, but not always the best tone.
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