Neck alignment and gap under fingerboard

[Kieran]

Many thanks for all the great help and different ideas. I now understand my options.

Cheers

Kieran

[SteveS]

Another fine option is an adjustable neck joint. That's what I do.

[murrmac123]

Originally Posted by SteveS

Another fine option is an adjustable neck joint. That's what I do.

Two of the best sounding, ( and playing ) guitars I have ever played were built by Mike Baranik, who incorporates a very intriguing adjustable neck joint into his builds.

I cannot fathom out the mechanics of the joint ... but what I do know is that he has achieved the ultimate in terms of adjustability and playability... and his guitars are in a different league, sound wise.

[redir]

A good mechanical joint is a wonderful thing but it still doesn't solve the problem of neck/body geometry. It's very useful when you need a neck reset though. But to get the optimal angle and string height at the bridge when building the guitar without body joint hump or excessive back angle something needs to be done right from the start.

The bolt on joint is wonderful for making fine adjustment's but if there is a lot of airspace over the fretboard extension then while it would be easy to adjust it with the bolt on method then it would then be grossly under set.... And so on.

[LouieAtienza]

There are a few builders with some form of adjustable neck. I believe in most cases, the neck wood runs the entire length of the fretboard, or a tongue is added to the neck. And either can be CF reinforced. Such is the case for a few designs where the tongue is floated over the top, like McPherson for a mamufacture, or independent builders like Martin Keith or Cory Batson. Or the top can be pockted to receive the tongue, a la Taylor, even Bourgeois, and many others...

Really it's not that hard whichever way one chooses. If the neck is dry fit to the body BEFORE the fretboard is glued one can check that the top of the neck and top of body at the upper bout are in the same plane before gluing the fretboard, this way any adjustments can be made beforehand to eliminate any problems later.

[Kieran]

I little progress to report, I have eventually decided on a flying brace over the bridge plate. Because the guitar body is so small and I have thinned the cedar top under 2mm I feel this brace pattern will be more suitable than more traditional patterns.



I have decided to scrap the plywood sides and laminated back I was going to use and I have bought a walnut back and side set.





Although the build is coming along slowly I am pleased with progress and thought what the hell, might as well put a solid wood back and sides on the little beast.

My question is this: the figuring/grain is not exactly the most stunning on this set, what are the likely advantages of either using the heart wood or the sap wood down the centre of the back? What would be the structural and or tonal differences between using the tightly spaced sap wood grain over the wider heart wood?





I also splashed out on a new ovangkol finger board



Thanks for following

[Howard Klepper]

Originally Posted by Kieran

If for example I am aiming for 0.400 above the bridge with a straight edge on a fretted fingerboard . . .

I hope that is not where you are aiming.

[Kieran]

That was supposed to read 0.400 above the top at the bridge area

[LouieAtienza]

I think the sap wood always looks nice down the center, but I'm biased... Looks like you have some on the side boards as well?

[Kieran]

Thanks louie, aesthetically I agree, I prefer the look of the sap wood on this pair. Is there any structural benefits with either way? The humidity is very high here in Sicily with swings from 90% to 50% from day to day. I have managed to brace the top when it was around 60% and was planning on doing the same for the back. Also I'm tempted to laminate the sides with walnut veneer.

[LouieAtienza]

While I'm a big fan of the cathedral grain pattern, it probably may not be the best configuration for the center of the guitar (because that's were the grain goes rift to flat). Usually if the grain goes in that direction it falls toward the outside rim of the guitar. Although in your case I would guess it would fall completely outside your guitar outline.

[Kieran]

Originally Posted by LouieAtienza

While I'm a big fan of the cathedral grain pattern, it probably may not be the best configuration for the center of the guitar (because that's were the grain goes rift to flat). Usually if the grain goes in that direction it falls toward the outside rim of the guitar. Although in your case I would guess it would fall completely outside your guitar outline.

Thanks again, just the sort of helpful pointers I was looking for.