Andyjr1515

Nice neat job. How does the Aguilar sound? Did you ground the copper on the controls chamber? I never was sure it made any difference, but I would have been tempted to copper cover the whole of the back of the controls plate rather than just a strip, and then add a copper nib to the chamber towards one of the screw holes to create a fully earthed 'faraday cage' using the earth connections from the pots. As I say, I'm never sure whether it does make a difference...might be like banging dustbin lids in a field to keep the elephants away. But, at least in the fields round here, there are no elephants...so maybe it does work!

There's no easy way of answering what the push/pull pot is doing...and with the amount of solder around and about, whether anything is shorting...but that is the bit where there is some sort of out-of-phase stuff going on, I am sure. Looking at the two other pots, it looks like it started off as a standard neck vol/ bridge vol/ master tone set up. It is - and can be - a fairly straightforward circuit (see the Fralin P/J circuit below) So I would suggest that the only pot you need to change is that push/pull one. Just fit a standard tone pot / capacitor instead and wire up exactly as above where the two whites from the pickups go to the respective middle position of the two existing volume pots, the two blacks from the pickups are earthed, as are all three pots, and then a simple feed from the middle pin of the tone pot to the 'hot' peg of the jack socket, and earth to the other one.

Apols - I missed this extra query and presume you're talking about the positioning panel pins. Yes - on a fretless it will often be just the ones at the nut. But you must have something in place that will prevent the heel end sliding sideways too - to be honest, on ebony I would usually use panel pins there too and then fill the holes with ebony dust mixed with a touch of clear epoxy. However, to avoid risking that, something like the spool clamps I show in one of the pics above (in that instance at the nut end) - or a couple of side packers and a normal clamp. The board will float on the glue and you have to stop it skewing as you tighten the main clamps.

@rainbowreality In terms of just finding high spots that might be causing buzzes, unless you do lots of string bends, the only place you need to check is along the actual string runs. For a 'quick and dirty' I check with the strings fitted and literally run the rocker alongside the strings at each fret triplet. If one rocks, I check on the other side of that same string and if that rocks too, note that position for attention. (Clearly this method doesn't work if frets are actually worn into a groove...)

That's good. I've never personally had a problem with MoP.

One thing that, now I think back, you need to think about is fret markers. I've personally never had mother of pearl or stone markers give problems - but plastic ones will, indeed, melt if the iron is placed directly over them. The trick usually is to run the iron close to, but not over, the markers.

There's a bit of 'it depends' involved here ref whether you are going to scorch the wood or not. A very thin cloth might be an idea (old-fashioned handkerchief thin) if you are concerned it might scorch - but not dampened, in my view. Dampened won't speed up or help warming the wood enough to soften the glue, it will dry pretty much immediately anyway and it could artificially expand the wood fibres which may affect the size or properties when it cools back down. As I say - it is the wood warming up sufficiently right through to the glue line that is the objective. If I had a fretboard that I was concerned about, I think I would simply use a lower temperature for longer. Patience really is the key here...

Fretless is exactly the same process. Depending on the thickness, it tends to be a bit slower as there are no frets to speed up the transfer of heat to the glue joint but probably less risk of breaking.

The challenge was lining up accurately enough for the original side dot holes to line up. That said, at least it would then be in exactly the right position! Held together, this was would be I was aiming for if at all possible: Dry, I used some spool clamps to hold the side to side position. I then drilled a couple of micro holes in the nut slot through to the neck and tapped in a couple of thin panel pins. Same at the back - I lifted a fret and put a couple in there too. At the back of the neck, I stuck a strip of hardwood along the neck spine temporarily with two-sided tape to use as a clamping caul: I pulled the fretboard off to apply the glue, then could use the projecting panel pins to relocate and prevent the board floating around under clamping. I used a series of radius blocks before putting around a dozen clamps to squeeze all of the glue out and get a closed joint on both sides all the way up the neck. Here is the first clamp - 11 more to go: And here it was glued, waiting for some replacement side dots (which come as a thin cylindrical stick) to be fitted: And re-oiled ready to return to @Owen

I might have to post some more photos. I had to line up the two halves of the side dot drill holes which were positioned on the join as well as everything else...

If you were trying to replace the fretboard (rosewood only) then presumably you could do it like this (though why would you...any major modding on an old Fender will potentially destroy its resale value, however well it's done) but remember that a Fender neck is a single-action truss rod, inserted into a curved carve from the back and then hidden by the 'skunk stripe'. I don't mess with genuine Fender necks so I'm not the one to ask - even the frets are done differently - they are inserted from the side of the fretboard...

I agree - never use steam. Steam can be useful for getting a glued neck off, but I quite agree, never a fretboard.

Probably a bit quicker - as you are moving it forward a few mm at a time, the wood ahead gets 'preheated' as the iron gets close - but yes, probably 30mins to 45mins

I use a travel iron on hottest. Not sure what temperature that is compared with a standard iron but it feels pretty hot to me so probably a 'cotton' setting or similar

Forgive the poor scaling of the shots - I've directly pasted some random JPGs This was the thin fretted fretboard of one of @Owen's basses back in 2024. See how close the bottoms of the fret slots are to the bottom of the fretboard...that's not a lot of wood! The problem was a totally seized - and fully adjusted - trussrod With due warnings to Owen that it might well snap, I got out my trusty travel iron and sat it on the heel end for around 10 minutes, testing every now and again with a Stanley Knife blade: Once the glue was soft, I progressively moved the iron forward, sliding a steel sheet I use for bending acoustic guitar sides into and along the softened glue. Any thin steel can be used, a decorator's platter, a thin scraper - main thing is to slide horizonally...NEVER lift!! And you DON'T RUSH, and inch it along a few mm at a time: And eventually, it's off...and still in one piece. That is one well k*******d trussrod! :

It takes a bit of experience...but I've never lost/wrecked a fretboard yet. The absolute must is NOT to rush and NOT to try to lever it off.

I posted a few (including a scary Wal!). I'll try to find a couple but will need to convert all the photos due to Imgur UK restrictions. It may take some time!

I'm flattered, but I'm probably not the best to advise on this one. The Aria TSB550 is probably fitted with a single-action trussrod and the best way to refit another single action rod varies depending on the make...and I've done loads of stuff on Arias (and LOVE them!), but never a truss-rod replacement. You can, of course, replace a single action trussrod with a modern dual action one - but Arias, in my view, are a bit too special for that. I'm sure some folks better experienced than me will mosey along soon...

Hmmm...not really. You tend to pull the cover from one side - at the most breaking the pull of two magnets as one half of the hatch lifts up with the other two acting like a hinge. But, even with that said, they are surprisingly powerful for such teeny things. 👍

I used 3mm dia x 1mm thick magnets with a 0.19kg pull from First4Magnets on my last build. I've used 5mmx1mm at 0.3kg in the past but that is a bit overkill for a standard size/weight hatch.

I can't remember offhand but I'll have a look in the morning

There may be other issues - but your analysis of the trussrod seems right. If the string is hard down on the frets when holding down at 1st and 14th, then the trussrod is too tight. Before sending it back, it might be worth trying to loosen it until there is a 'just-perceptible gap' at the mid point fret.

Quite right in absolute terms. 👍 I was referring to relative pitch. The amount of pitch change from string on fret, with no sideways bend, to on fret, with sideways bend. 😊

Yes - it sounds like a fault in the string.

I agree with @Hellzero that the Fodera videos pretty much cover it. Not overly sure it covers the sequence and the reasons for that sequence and hence my extra post - if folks understand why they do certain things, better chance that they will be able to work out the right action if something unusual pops up. Ref the amount of gap, my actual target is 'just-perceptible movement' when you tap the string at the middle of the fretboard. The business card guide is more of an absolute maximum gap rather than a target. Ref 20th June, MrsAndyjr1515 hasn't told me yet what decision I am going to make ref holiday weeks...