The 30 min bridge crack fix.

Occasionally you’ll see a split bridge due to curl from dehydration, curling, or top bellying. Here’s the results of doing a quick, half-hour repair. This time, less gab, just pics.

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“Fast” Eddie Clarke Tribute Strat

Motorhead’s classic-lineup (1975 – ’82) guitarist ‘Fast” Eddie Clarke was an influential player on me around the time of Ace of Spades and Iron Fist albums, and my inspiration as guitarist in Canada’s top classic Motorhead tribute band Motorheadache (if you dig MH be a sport and give us a ‘Like’, thanks 😉 )

Earlier for this band I was using a slightly modified, black Highway One strat. Now we’re going for as accurate a recreation as possible, so I wanted to create a proper tribute Strat that was as close in appearance to his modified 70’s Strat as possible. So wanting to base it on the time period from memory seeing him play here in Toronto a couple times in 81-2, and gathering pics/info from the net I determined that his strat is a 70’s model that was stripped and refinished natural. Later a polished brass pickguard was installed, along with gold dome knobs. Neck pickup was changed to a Dimarzio SDS-1, middle stock, and bridge pickup had changed a few times, but usually between a Dimarzio Super Distortion or an X2N.


Shown here with a Super Distortion in the bridge….


…..and a bit later with an X2N.

So not wanting to shell out for an original, now vintage 70’s strat to maul, I went and scored this basic ’99 Classic 70 Strat in natural ash with the basically correct 70’s specs – right down to the old bullet truss rod. While not being made from alder as Eddie’s was, it superficially looked the same, particularly from a stage standpoint. Natural finish – check. Large 70’s headstock – check. Rosewood fingerboard – check. Perfect platform to turn into a fine (pay attention Fender) Fast Eddie Clarke Tribute/Signature Strat! 😉


Shown here as I got it, bone stock. There’s many parts to buy and much work to do, which winds up being more than you might think.


First, grab a Dimarzio SDS-1 and an X2N.


Finding a suitable polished brass pickguard took some searching, and couldn’t find any with the required H-S-S configuration. Closest I could find was an official one from Fender, which really wasn’t cheap either. It too, will have to be modified to accommodate the bridge humbucker.


Upon removal of the original pickguard we see that true to form – Fender has kept the vintage pickup cavity config the same as the 70’s. Same thick poly finish too I might add.


First job is to route the cavity for the bridge humbucker. Starting with a placement outline from a donor HSS pickguard, we use the lexan HB pickup template to mark where we’re going to route.


<INSERT 10 MINS OF ANNOYING & BORING ROUTING NOISE…>   So after routing the basic outline for the pickup, I find that the depth of the cavity isn’t quite deep enough to accommodate the length of the pickup’s ‘legs’, leaving too much of the pickup protruding out of the pickguard with no room for any adjustment. This won’t do…


So wanting to leave as much wood intact as possible, I chose to route only enough to give the legs some adjustment room. Now this brings the overall pickup height down to a reasonable level.


Mulling this over and then glancing at the extra depth of the SDS-1 neck pickup due to the bar magnet under the baseplate, and sure enough, it too sat much too high, requiring routing as well.


<MORE HELLATIOUSLY LOUD ROUTING> And now it’s sitting where it should be.


Now we need to mod the pickguard. Using this HSS pickguard as a template for the humbucker hole.


Everything marked and masked out before cutting. This is a $100 pickguard, so there’s no room for error.


Using a hardened metal blade on my scroll saw, we do the rough cutout first. <MORE NOISE>


The pickup hole is then smoothed-out and edge finished using a fine Dremel drum sander.


Now we populate the guard with all the guts.


And presto! We have basic Eddie config :)  Gold dome knobs will be added a bit later…


Now getting to be an old coot my vision is getting poorer by the day, lol. So sometimes seeing my side positions without my glasses is really tough, especially on a smoke-filled, dimly-lit stage. So one liberty I’ll take with this tribute strat that only I can see, is to install large 4mm Luminlay position markers that glow after being charged with bright and particularly UV light, which lasts about a set.


Here you can see the difference in size from the stock (left) markers and the Luminlays.


Difficult to photograph, but this gives you an idea what to expect.


Installed, levelled, polished out. Done. Ah…even without my specs I can quickly see where I’m at 😉

At this point I assembled the guitar, gave it a quick setup and test run. It sounded hot and bright, perfect for helping recreate Eddie’s tone in the trib band. But being primarily a Gibson player, it was slammed home about the main thing I HATED with old Fenders…the rounded 7.25″ fingerboard radius. I’m much more accustomed to the flatter 12″ radius of Gibson’s and even flatter 16″ of Ibanez’s for low action with choke-free bending. Since I was intending this guitar for the long-haul with this band and bothering to go through this much work for it, I decided to pull the neck off again, de-fret, re-radius, and refret to a more comfortable 12″ radius.


Because this neck was fortunately arrow-straight and solid, I decided to do the main refret the old, benchtop way, and save the neck jig for the final levelling. Remove tuners, nut and adjust truss rod to get neck as perfectly straight as possible using a precision notched straightedge.


For removing frets properly to minimize pull-out and chipping, you should use heat with a good iron. And HOT to help speed up the process. But be careful, you can also scorch the board if you hold it on too long, so some practice is required or take longer using a lower wattage.


We can take care of previous boo-boos while we’re at it.


Frets all pulled and ready to prep.


Pulling the frets will decompress the fingerboard and cause the neck to bow slightly, which will require a truss rod re-adjustment and straightening with the notched straightedge again. This procedure should be rechecked at every stage. The tools laid out and then the board is marked off with white pencil to monitor your progress. To flatten the radius down to 12″, we will be shaving down the apex or center of the fingerboard gradually using a scraper, levelling beam and radius block. The neck is supported in the middle with a neck caul, and the headstock is clamped down to hold it steady.


Starting off with an aggressive scraper in the center, which removes a lot of stock quickly, I’ll soon switch to a levelling beam with 100gt gold paper for much of the way before finally switching to a 12″ radius block. The white pencil shows the progress.


After some time, we arrive at our goal. This will also be the time to take care of any chips using CA glues and/or dust. Fortunately there was none in this case. :)


Bingo! The board now has a 12″ radius for lower action without choke. Now to start prepping the board for new frets.


Bend up three 24″ lengths of Stewmac #152 fret wire (.092 x .048″ crown), which is good for this. I overbend slightly to about 9-10″ radius to help keep the ends seated better.


Your fret job will only be good as the foundation (fingerboard) it’s built on. Now we need to touch up the slot depth with a fret saw. Again, pay attention to avoid chipping the slot edges and at the ends by the side of the neck.


To ease insertion of the fret tangs and help with full seating of the crowns, we put a slight bevel (but not too much!) on the entrance of the slot using a triangle needle file.


Cut all the frets in advance, leave about an extra 1/8″ overhang on each side for trimming and flushing.


After using the fret hammer only to tap the ends in, the frets are then pressed in place.


Ok, all the frets basically seated in place.


Again re-adjust the truss rod keeping it straight.


Despite the effectiveness of pressing the frets in, we’ll check with a fret rocker for any remaining high spots that inevitably still occur – but far fewer than if using the old-school hammer method.


The remaining high crowns are marked and gently seated with the fret hammer on a bag of buckshot.



I always glue my frets in which minimizes future lifting, and the solid contact with the fingerboard wood aids in proper vibrational transfer through the neck which = better tone!  At this point I’ll trim the overhang and bevel the fret ends roughly before putting it back on the body and placing the guitar into the neck jig for final leveling.


After being strung up to pitch the guitar is placed into the neck jig and given a final levelling. Because of the extra fingerboard levelling and proper fret seating, the amount skimmed off the tops of the crowns is minimal. Good 😉


The ends are dressed and the crowns are now polished with Micromesh up to a superfine 12000 gt.


At the end they come out shining like mirrors! Now to take care of that dry, unoiled rosewood.


Now that’s a lot healthier and rich looking. For deeper penetration, instead of lemon oil I use D’Addario Hydrate which is a fantastic product.


All strung up with D’Addario NYXL 10-46 and given a good final setup in Eb tuning and bends are now totally choke-free! Some final touches include the gold dome knobs and leaf sticker like his 😉


This one’s for you Mr. Clarke!  Turn it up, I wanna hurt these people! haha. (No the bullet belt isn’t a strap, I just draped it there for looks 😉 )

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‘Metal-up’ those boring toggle switch tips.

Here’s a cool way to ‘metal-up’ the boring, generic old Switchcraft 3-way toggle in only a few minutes. Using only a drill and few hand tools, there’s many small plastic, wood or metal items that would make interesting and cool switch tips. Dice, board game pieces etc, are some obvious examples.


In this case, it’s a rubber skull keychain from my late mom that has great sentimental value.


Using calipers, measure the switch shaft diameter to determine the pilot hole size. Because we’re going to tap threads into rubber, we drill quite undersized so the malleable rubber grips tight to the shaft. I went with a 2.5mm bit.


Measure the thread depth to the stop ledge.


Tape off your depth-stop on the drill bit using this measurement.


LOL. Now we shall CRUSH THE SKULL OF OUR HAPLESS VICTIM IN THE VICE OF VENGE-….um, place the piece to be drilled firmly in the vice.


Lol. I mean seriously, is there anything not made there now? Bonus points for the anatomically-correct moulding job though. 😀


Logically, we always drill in the thickest part and make sure the bit depth won’t penetrate through beforehand.


Drilled out to depth. Ream slightly to clear the hole nicely of debris, but be careful not to widen much.


Now a 6-32 tap (works for Switchcraft toggles) is used to gently cut some threads in the rubber.


Clean out the hole of cuttings and gently screw on. Watch for clearance when switched over back and forth. In this case I had to slightly trim the underside of the skull where it made contact with the toggle nut, using an x-acto blade.


😀  \\m//



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REVIEW: Aaron Marshall’s Aristides 070

Aaron is a man of discerning tastes and exacting standards, who always brings me classy instruments to work on. This time around he brought by a new instrument for a pickup install and setup, an Aristides 070 which is a new company based out of The Netherlands. The most interesting aspect of this futuristic new guitar is it’s core construction, a material called Arium, which is moulded and sandwiched together with carbon fibre to make a complete one-piece body/neck unit. In fact, just to keep some traditional aspect included, the only wood to be found on the entire instrument is the fingerboard, which in this case is ebony.  You can read all about these guitars in more detail here:


Being the first time I’ve seen one of these guitars – along with the required work to be done – my inner tech geek will always make me crack out the calipers and fully dissect it in detail, fully inspecting all aspects of it’s design and construction.


The first thing you’ll notice about this guitar is it’s futuristic body design, which is kind of reminiscent of an oversized Ibanez S, and the prominent ‘scoops’ moulded into the guitar’s face. The finish, which I love, is a maintenance-friendly matte poly in very striking orange.


Flip the guitar over and it reveals a large control cavity cover, nicely recessed and finished the same.


The moulded process obviously allows for a smooth, seamless neck/body join is similar to guitars constructed with through-neck design. It’s perfectly done and feels fantastic, allowing complete and comfortable access to all of it’s 24 frets unhindered.


Instead of using individual body ferrules, Aristides has went with a beautifully-milled, solid piece of stainless steel as it’s string anchor. Finished in brushed satin, this solid block goes all the way through the body and attaches to the Hipshot bridge plate on the front of the guitar, which greatly adds to the sustain of this already resonant instrument.


The sleek, in-line headstock with it’s chrome logo, is distinctive enough without stepping on any design copyright toes.


The tuners are Hipshot open gear locking, which are one of my favourites – they’re very light, smooth operation and have among the least backlash of almost any tuner going. Good choice guys 😉


The action as presented was a bit on the stiff side, and later re-setup much lower.


For many years now, it has been getting increasingly difficult to obtain perfectly black, streak-free ebony, usually from Cameroon or Gabon; which in most cases ebony is usually streaked with grey or light brown in it’s natural form. To appease the ‘it’s got to be jet-black, man!’ customers, most of the large companies like Gibson, Martin, Taylor, Jackson, etc., resort to dying the ebony slabs with black dye to achieve this, usually with an alcohol-based leather dye like Fiebing’s. So it’s really nice to companies starting to come around and use natural cuts of wood with the streaking included. :)


The stock pickups were the Seymour Duncan Sentient/Nazgul combo, and what was great to see was the pickup cavities themselves; finally a company with the forethought to realize that many guitarists will regularly swap pickups, and to make the cavities large enough to easily accommodate even covered pickups (as you’ll see below) – which more often than not require some extra modification to the cavities to make them fit, and Carvin guitars in particular come to mind. Large enough for some wiggle room, but not too large as to look sloppy. Bravo Aristides!


Now removing the back cover is where things start getting really interesting, and it’s also usually the hidden areas where I often find shortcuts, cheap components or sloppy work. As you can see, the large back cover is slightly flexible and reveals two large chambers, one for the electronics and another empty one displaying the serial number. Without getting into the details of chambering affecting tone, I feel that chambering does add a certain ‘airiness’ and resonance to the overall tone almost similar to a semi-hollow design, which this guitar has in spades. There is little doubt in my mind that these large cavities contribute to this.

Although no extraneous hum or noise was detected during the work through the bench amp set dead clean, it doesn’t mean that it isn’t possible under the right circumstances. Being near florescent lights, transformers, bad lighting rigs, etc., can suddenly introduce all sorts of buzzes, hum and noise if the guitar’s control cavity isn’t fully shielded. The best choices for helping with interference protection are copper foil, aluminium foil, or at least the convenient shielding paint applied in at least two coats. I’m a big advocate of full shielding, and see far too many companies and builders skimping on doing it…as beautiful as this design is, full shielding would have been the icing on the cake in my opinion and certainly wouldn’t hurt.


Yes! Builders and small companies take a good look at this this is what I expect to see on any instrument costing over $2000 – genuine quality components and neat wiring that looks like the builder actually takes some pride in their work 😉  This control cavity is among the cleanest and most logically laid out that I’ve seen from any builder in some time. The pre-moulded cavities for the individual controls just reinforces the overall impression of much forethought with it’s design. Super job Aristides!

Let’s take a closer look…


Great! No cheap Asian Alpha pots here, as I usually see on the majority of ’boutique’ and custom guitars that cross my bench. These audio taper 500k MEC pots are fantastic units made in Germany with the usual precision that they’re known for. The only thing I would have changed would be the capacitor to a Sprague orange drop  (which would match too, lol)  or a glorious Emerson paper-in-oil. Nonetheless, a very classy pot choice guys!


Wow. Again, no cheap plastic Asian switch here either. Behold the most rugged and robust 5-way blade switch you can get: the German-made Schaller with a thick steel housing. Pure class.


Whoever does the wiring at Aristides clearly takes some pride in his/her work, and I really appreciate seeing this. And so should any customer buying one of these 😉


What separates the pros from the rest is all in the details folks…raised contact turrets made from tinned, braided wire for connection – nice touch guys. Impressed.


So for the installation of the pickups, I had to unfortunately mess with the nice wiring job. After removal of the shrink tube, even the ganging of the ground wires was done neatly and carefully.


Now after removal of the stock pickups we find a slightly unusual way Aristides used for supporting the pickups and tensioning for height adjustment; four springs under each pickup that connect to the baseplate instead of the customary screw springs or small bits of foam. Aaron was having some minor “woooo-wooo” feedback issues at volume with this guitar (similar to the type from semi-hollow guitars), and I suspect that maybe these springs vibrating directly against the pickup’s baseplate under high volume along with the empty space under the pickup – much like the undampened ‘ringing’ within the springs in a Strat trem cavity – were a possible contributing factor with the low frequency feedback experienced. I have seen similar cases over the years in which this or loose, wobbly pickups were culprits of vibrational feedback as opposed to the high pitched feedback from unpotted, microphonic pickups.


To help combat this feedback (which was successful) and to have perfectly firm support with added stiffness and direct contact with the body, I always like to use medium-density foam cut to cover the entire pickup baseplate, and at the right height for proper adjustment travel.

Also shown is a really good feature in keeping with this cool guitar: threaded body inserts for the pickup mounting screws. Nice. Way classier than the usual little wood screws :)


As mentioned earlier, Aristides apparent forethought also allows covered humbuckers to fit the cavity routes perfectly without modification. There’s the right amount of clearance for pickup movement without looking oversized. The new pickups are a set of the excellent Bare Knuckle Juggernauts, a British boutique company renown for it’s pickup’s high-gain clarity. These also look smashing in this guitar with black covers and bolts which matches the rest of the hardware perfectly.


The nut is clearly made from an excellent Graphtech Tusq XL blank, which is my favourite nut material to work with after actual bone. While completely functional with no binding whatsoever, I would have liked to rather see them use a very slightly higher nut which would allow the nut slots to be cut just a little deeper, cleaner and more evenly.


Now here’s where we come to an area of my own personal focus: the fretwork. Aristides utilizes a neck jig when levelling their frets, which allows fretwork to executed with the utmost precision while under actual simulated string tension. This is the way I also always do fretwork, and you can read more about the process here. The results are stellar and the fretwork on this guitar is top-notch. The frets on this guitar are a med-jumbo nickle/silver type, all of which were well seated and glued-in. I’m a huge advocate of gluing the frets for best vibrational transfer during contact (which = best tone & sustain) and minimizes the possibility of lifting in the future if there’s any fingerboard shrinkage due to dehydration, which ebony is very prone for.


After cleaning the board and frets, we also can see the MOP ‘070’ inlay at the 12th fret, which was cut absolutely perfectly with zero filler or evidence of slop. I suspect this was maybe lazer cut – it’s just that clean of a job. The crowning, end dressing and polishing of the frets was excellent, with pretty much zero trace of any tool marks or levelling scratches. Thumbs up Aristides!


Here’s another area that, from a repairman’s perspective, I often have issues with many companies and certain guitar models: poor truss rod access and/or functionality. This is critical to the ease and good setup on any guitar, and the Aristides design is very clean, with open clear access. The dual-action truss rod functions smooth and flawless, responding positively to even slight adjustment in either direction. Bravo again guys.

And while I’m on this subject, after decades of rod-tweaking, I’m of the firm belief that due to the very wide climate fluctuations we have in our Northern hemisphere, ALL guitars should be equipped with dual action rods, just in case. There’s few repair hassles worse than having to deal with a back-bowed neck on a guitar fitted with a single-action rod and no tension on it. This opens a real can of worms, of which certain methods of heat clamping and such are required to counteract it, and not always with guaranteed results either. :/


The bridge fitted to the 070 is the very good Hipshot, pretty much an industry standard now for many ERG companies and builders, it’s well made and solid. My only concern here in this case while re-adjusting the action down to fast and low levels which Aaron prefers, the about of saddle travel was only a few thou shy from bottoming-out on the high E.  As you can see, this also allows the adjustment hex screws to protrude slightly on a few of the outside saddles, which can be a bit uncomfortable on the side of the hand when palm muting or resting your hand on the bridge – aka “cheesegrater bridge”. Either using a thinner baseplate for slightly more saddle travel or shorter screws would address this minor issue.

In Conclusion :  I’m always excited to see new instruments, and particularly those which are taking strides to try using new materials in it’s construction – especially in this age of fast-disappearing sources of sustainable wood. Aristides represents a new breed of companies aimed at addressing this head-on, and is doing a fantastic job at it. This guitar feels great, has a nice, airy tone that also cuts very well, particularly on single notes and soloing. There’s a very good, rigid feel to it, which doesn’t feel flimsy or wonky when standing and moving around with it. This, combined with it’s easy-to-clean durable finish and after a good setup, will definitely make for a solid road warrior that should last. Aristides are clearly setting a new benchmark in modern, durable guitar design, of which should hopefully see other builders follow suit in some aspects seen here and step up their game to keep up. Only the couple of very minor issues are what prevent me from giving this guitar a perfect 10. A great, solid instrument – colour me very, very impressed. :)

RATING :  9 / 10

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Aaron Marshall’s new Boden 7


Another good bud, client and fantastic player Aaron Marshall of Intervals brought me another of his newest additions, and second fan-fret Strandberg Boden 7 to get a setup and overall checkup. It was also intended to install a new set of custom made Bare Knuckle Juggernaut pickups instead of the stock Seymour Duncan slanted Sentient/Pegasus combo, but the new pickups were unfortunately oversized and it was decided not to modify either at all.


As you can see, the width and flaring-out of the covered BK pickups was oversized for the cavities.


The stock pickup’s support foam shown is inadequate imo.


As a general rule, I always like to measure out and fill the cavity evenly with high-density foam, for much firmer support and helps to combat feedback excellently.


Fretwork on this example was excellent, with almost no tooling marks evident. Truss rod worked like a champ.


I’ve worked on a good handful of these Bodens now, and this particular example was one of the best that I’ve seen. I must say that the body finishing in particular was *outstanding*. Great job Strandberg/Washburn, a very, very good guitar overall.

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WALKTHROUGH: Mike Fortin’s ’90 HM Strat Ultra


My good friend and amp guru Mike Fortin brought in a cool piece of shred guitar history with a pedigree: this very axe was formerly owned by famed 80’s shredder Greg Howe, and used on one of his albums. The guitar clearly has been unplayed and in storage for some time, and has a separated skunk stripe crack on the back of the neck which will need repair and then sealed with some coats of Tru-Oil. It will also get a full fret dress in the neck jig.


This shrinkage is usually caused by a combination of dehydration and a poor glue join in this area. The internal pressure from the truss rod isn’t helping it’s case either.


As you can see, it’s a fairly substantial opening, and goes down into the truss rod cavity which can complicate things a little with sealing it.


Ok, so I’ve laid out the basic materials (maple dowel for dust, Titebond Original and low viscosity cyanoacrylate glue, wax paper, neck caul and hard spring clamps) for starting the crack and dent fills.


A banged-up, vintage or reliced body to me is fine, but if it’s one thing I can’t stand it’s big chips or dents on the back of the neck that you can feel while you’re playing. Besides the main huge crack in the skunk stripe, there were a few hairline cracks in the walnut here and there, one decent deep scratch in the maple, and worst was this deep dent where the fibres were crushed significantly inwards on the walnut stripe.


Using the old-school method of lifting dents in wood with steam, which works surprisingly well, often swelling it back to the original surface state and sometimes even higher – allowing the excess to be shaved off level. Before starting the steam using a very hot soldering iron and wet fabric, a sharp X-Acto blade is used to slightly slice into the dent through the finish along the grain to open it up and allow the steam to penetrate easier. But sometimes, depending on how dense the wood fibres were crushed together inwards, it can only be swelled back partially. This was the case here, which recovered about 85%, and still required a tiny about of CA (cyanoacylate glue) to completely level the void and make smooth.


Just above the tip of this pipette you can see how far the steaming process brought back the deep dent, so this will be topped off with CA and also do the hairline crack fills at the same time.

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The cracks are first cleaned and de-greased with a few wipes of naptha (lighter fluid) for best adhesion. Hairline cracks are filled with CA in a few applications, allowing extra time between coats to harden fully. It should be noted here that no CA accelerator was used, due to it’s tendency to turn the glue a milky white colour, which we definitely don’t want here.  The cracks must be filled completely and above the surface, which is then shaved down flush with a razor scraper after letting dry hard.


Next is prepping the skunk stripe gap for filler. First I clean the slot with a special feeler blade, and then slightly widen the opening with the thicker X-acto knife shown. The crack is then blown out with canned air.


Quickly create some sawdust for filler with a small piece of maple and a big mill file.


A small amount of Titebond Original is mixed with the maple dust to create a ‘glue sauce’.


A tiny amount of water is added, a drop or two at a time while mixing, to dilute and lower the viscosity of the dust/glue slurry to be able to seep deeper into the crack easier. Note: While watering down Titebond or any anaphylactic wood glue is fine for gap filling and a few other uses, it does weaken the final strength and is not recommended for use where maximum strength is required in a high tension area; acoustic bridge and broken headstock reglues are good examples where not to use it.


Ok, so how far to water it down?  Tip: When letting drip from a toothpick – 1 drop/sec is good 😉


Carefully run along the full length of the crack…


…quickly use a feeler blade to help work it into the crack…


…and then start working it by pushing the glue into the crack with your finger in a circular motion, moving fairly quickly. Here you can really feel the gritty texture with the maple dust mixed in. You put enough so that it feels maxed-out without too much sink.


Wipe off most of the excess glue leaving a small amount of overspill to cover over the crack area slightly, and then cover with wax paper to prevent squeeze-out from gluing the caul to the neck.


The cork lined neck caul is place over it…


Grip the neck and caul together by hand, flip it over, get a protective wood slab for the fingerboard, and apply the three heavy-duty spring clamps spaced evenly over the length of the crack area. Note: it’s important that you need to have the neck dry in this position, fingerboard up. Utilizing gravity with the crack facing downward, it helps prevent any pooling of glue around the truss rod (not good) and into the crack instead, where we want it. Because of the depth of it, allow this to dry a bit longer than usual – at least 2 days to dry to the core.     

To be continued…


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Yes, moved…again. :/

Hey all, I’ve moved yet again for the 2rd time since Sept 2013 into a new apartment away from the scuzzhole at 35 St Dennis. Due to my also working full-time at D’Addario Canada, it’s been tough getting motivated to get my little repair space back together again. But here’s a few pics of the initial room, and of course will evolve over time as I go. Some tools are on my bench at D’Addario, and there’s still a couple power tools and vices to get yet, which were too expensive to ship back from my shop in Norway. Starting fresh…




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