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Re the control cavity cracking, it might be worth considering the techniques people use to get high strength with little bulk or weight for things like aircraft and high performance yachts. Essentially, it would involve stretching a thin mat of something strong that does not stretch (kevlar, glass, carbon fibre - all are readily available from boat-building suppliers) and coating it in epoxy resin. Light and very strong, probably easy to do.
And wishing you a speedy recovery from the lurgy - I had it again last week as well and it didn't make me at all ill this time (if I'd not done a test I'd have thought I just had a cold), just a pain in the arse because they didn't want me in the office once I knew what it was.
The body has been hanging up in the house for several days. There’s no visible movement, even around the control cavity. Fingers crossed.
Thanks. There’s a silver lining. Neither of us has the energy for more than an hour or so in the garden. So I don’t feel guilty about doing the odd job in the workshop.
Realised today that the varnish has a slight amber tint. It looks OK on the Yew, but the Cedar isn’t as blonde as I’d like it to be. I’ve levelled the surface with 1000 grit. The top has had a final coat of thinned varnish, cut 50:50 with white spirit, and left horizontal to avoid runs. I have to brush it whilst looking at reflections to make sure that it’s all covered with no dry spots. I’ll do the same on the back and sides before bedtime. Once it’s hard enough I’ll install the hardware. Then, at long last, I’ll know whether it’s a guitar I can gig with. There’s a big difference between merely playable and a guitar which inspires.
1. Bridge
2. Tapped bridge
3. Tapped bridge and neck in parallel (untapped the bridge would overpower the neck)
4. Neck
5. Neck and bridge in series
Weight is 2.55 Kg, or 5lb 10oz in old money
Despite having similar pickups it’s not as bright as my Telecaster, and the treble drops off too early. Part of the cause is the pots which are well below specified resistance. I’ve put a 180K resistor in series with the tone pot which has changed its operating range, and brightened things up a bit.
The highest side marker is at the 15th fret. For unthinking access to the upper frets I could do with markers at the 17th and 19th. The neck is too far inset into the body to allow this. It has to be this low to line up with the bridge. In fact the bridge could do with being inset even lower. The saddles are almost at the bottom of their travel to get a low action, and this is making palm muting difficult. On a conventional Tele I use palm muting to shape notes, and for staccato chords. With the Hipshot bridge the saddles are buried into the bridge casting. The solution to all this is probably to shim the neck cavity to angle the neck against the body, and then raise the saddles.
How's the finish holding up?
So I’m left with a dilemma. Make neck number three from a different wood, or make a new guitar with different tuners. I think the answer might be to do both. I’ve been seasoning a nice piece of Walnut for around six years. It fits the original criteria for this guitar of wood grown in my village. Then I’ll make a new body for the Sycamore neck, using the Nova tuners which I acquired for last year’s challenge.