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.
There are forums that can help you rebuild that into a guitar tube amp if your interested in doing that. Some of the tubes may not be suitable for a guitar amp, but you never know until you look into it.
Which every you choose to do, that case will make an awesome guitar amp.
Those caps are of large volt ratings and they can have enough voltage stored to stop your heart, so it's good to know how to discharge them which isn't that hard to do. Antique Electronic Supply or other supplier will have what you need.
The tubes are a bit different from what a guitar amp would have. Radio tubes are often cleaner sounding than what would be in a guitar amp and would make a great acoustic amp or Bass amp. Often times you can switch tubes for other types to get more guitar tone.
If you go with the solid state chip amp instead, find someone that could use the tube amp chassis and give it to them or sell it to someone that needs it.
For now I think I'll keep the tube chassis in there. It's the safest place to store it. I do know someone who an rebuild the valve chassis, it's all intact but that's a project for another day. I did consider turning it into a valve guitar amp but if I were to rebuild it, it would be as a radio.
I bought a old Motorola 1957 stand alone record player at a yard sale for 20 bucks. All the veneer was coming off and the 15" speaker was torn, but the tube amp worked.
I fixed the speaker and plan on turning the amp into a acoustic/bass amp after a little rewiring and cap replacement. All the original tubes work.
I found a 1965 Silvertone 1482 guitar amp on the curbside with thrown out trash from a house. I took it home and it needs a recap job(sounds a little noisy), but it sounds good. I was a Solid State amp guy for 30 years, now I love tube amps.
Before I realized you were in Ireland I was going to say I'd love to get my hands on it. But with shipping and bribes for customs, it would be cost prohibitive. Just make sure it finds a good home with someone who appreciates the value of it. My 2 cents.
Hi Paul, just wondering, as a scarf joint is normally used to form the angle for the peghead and you mention starting your scarf joints under the 1st to 3rd fret area, how do you incorporate the angle for the peghead.? With your method hat angle starts starts an inch or two away from that joint, doesn't it? Do you have a photo, I'm missing something.
Just my thoughts on why I do it differently, I like to keep the joint as part of the peghead for a couple of reasons: one its wider than the neck, so more gluing area, with a hardwood overlay back and front, its suitably reinforced, and the glue lines are hidden. And an important point is that the tension of the string does not have the long leverage advantage as they are right on top of the joint area.
I saw a diagram from a Google search that showed a 3/4" thick piece of wood which is what we get when we buy a 1" thick board. The piece was laid on it's 3/4" side and a line was drawn across for the back side of the nut area(A) and another line 3" back towards the neck heel(B). then a diagonal line is drawn from bottom of line A to top of line B. Cut through board on diagonal line, flip the cut off piece 180 degrees and glue it back into place to form the headstock. It equals out to about 6 or 7 degrees angle. Then the fretboard glued on top of that after the trussrod channel is cut and rod installed.
Yeah that looks good. I go the other direction so I don't have to add a headstock veneer to cover the joint which is usually a bit off/messed up due to me doing it all by hand tools and practically no jigs. That's changing now.
I have to say what my mentor always said,,,,,"it's all about the glue joint". Simply meaning the glue will be stronger than the wood. If you stood on it after thorough curing, the wood would splinter, not the joint..... A bit unorthodox, but I used to cut my scarf joints on a 12 inch chop saw, good blade, square wood, laser for the cut, it made awesome glueing surfaces. Then the saw disappeared. (wasn't mine). One of the main things to avoid is glue starving the joint with too much clamping pressure. So I would get it set (after drilling 1/16 x 1/16 holes, randomly on both surfaces, in the meat of the wood), then wrap and stretch electrical tape around, sometimes almost a whole roll. Then after a bit (titebond III), add a clamp or two. Personally I think adding anything like dowels in the joint itself comprises the integrity of the wood. my 2 cents again. Don't glue starve the joint.
Yes Daniel, glue application is important. I also keep in mind that one of my surfaces is end grain and that can effect strength of the joint by absorbing more of the glue than the other close grain surface, [see photo above] this could also contribute to "starving". I am not convinced that dowels add much to a well executed joint. I have had many guitars on the bench for repair that had dowels in certain joints, and they failed.
I would not call the use of a drop saw unorthodox Daniel for a spice joint in a neck, I cant ever remember using anything else for mine, except by hand light years ago. But then many of my machine are modified for lutherie tasks and could be called unorthodox. Ha ha.