daddymack

and it is fine, as a band member, to voice your opinion and make suggestions. The trick is timing and tactfulness...

I worked with and around solvents and acids most of my career. I applaud your safety steps, however, mason jars are not recommended for storage of flammables...just a FYI

I have not tried out the MicroPro yet. But I am a die-hard tube amp guy, and I own a Quilter Aviator head that I actually have gigged [with a 1x12 cab]. I tried SS amps and modelers/profilers for decades and was disappointed repeatedly [Johnson, Line 6, Vox, Marshall, Fender, etc.] or priced out of the game [Kemper]. The Aviator is the first SS amp I have owned that I felt was gig-worthy, and capable of getting me the sounds I hear in my head...particularly 'high clarity' cleans, but also the 'growl'. That said, I would likely not use it for hard rock gigs, because my tube amps [Fender, Vox, Blackstar] have that covered, but the Quilter covers a lot of the same territory while providing that high headroom clean if you need it. If you need the 'controlled feedback' thing, there are plenty of pedals that can supply that for you.

I have learned over the years that typically no one in the band wants to be 'the DICK'. So easily remedied things get left to fester, and things tend to unravel. I have been 'the DICK' a few times. The last time, the band lasted over 20 years.

you needed Deep Purfle.... I like the sheen on the wood..and don't be inhaling that denatured alcohol....don't ask why I say that...

Better buy 3 sets...that could be a lifetime supply!

maybe not 'immortal', technically as they are not mortal to begin with...however I had flat wounds on my P-bass copy for over a decade, they always sounded the same....muddy but fat. I loaned it to a former bandmate as his backup bass...didn't see it for ten years....when I [finally] got it back, it had Rotosounds on it [or so he claimed]. They are still on there...that was 1998...

25mm=0.984252 inch if this isn't close enough, you should be able to find your length...now you know exactly what to search for. and you still haven't explained why you need replacement pole pieces....

https://www.ebay.com/itm/174837000114?chn=ps&var=474016656370&norover=1&mkevt=1&mkrid=711-117182-37290-0&mkcid=2&itemid=474016656370_174837000114&targetid=1262749491342&device=c&mktype=&googleloc=9031634&poi=&campaignid=15428034462&mkgroupid=133947154481&rlsatarget=pla-1262749491342&abcId=9300763&merchantid=108579349&gclid=Cj0KCQjw6pOTBhCTARIsAHF23fLGrOcvDGtvw_LG0Q1mQTT0t1VpcFmoXRyJoszBtxqznElyFIoFYm8aAlPoEALw_wcB

it depends...flat wounds? Don't bother.... Round wounds? When the G octave harmonic sounds like a rubber mallet on an anvil, time to change....

posts will not be graded, just commented on and lampooned....

Another potential culprit is the ratio of the tone pot...ksl, you said you swapped out the pot and no change, and mentioned linear pot issues from the past, so I initially didn't consider that...but do you know what the taper ratio is on those pots? 'Audio taper' has multiple tapers, so if you don't specify a 60:40 ratio, you could have a 90:10 [reversed log] ratio which would account for your results. Just another possible explanation...

actually .10 is not correct...#10-32....a #10 screw is .190 in diameter...fine thread is 32 turns per inch, 24 turns per inch is coarse thread...sorry, too many years in the aerospace industry.

'10-32 set screws gold plated' is what you want...but I have to ask why?

apparently to him it is...to you and I? Not so much....

My point was about within the guitar....but yes, once it reaches the amplifier, and the 'signal processing' starts, ultimately nothing escapes the 'eternal loop'

well, the prime signal doesn't go to ground....everything else does

since covfefe hit, I've picked up two, an electric Danelectro 12 [brand new, $299, how could I resist?], and a Martin XD-2E. I had done duo work with 12 string players in my 'formative period', and have always felt that despite their limited application, there is a place at the table for them. A large piece of my 'revised' solo act relies on the Martin 12...played finger-style. I didn't feel the need to go high end, since the 12s won't be for collecting, but for performance on relatively low paying gigs, and I will not risk a multi-thousand dollar instrument on a $200 gig. Plus, I traded a bunch of gear I didn't need or want [a Crate amp, pedals] for the Martin [and a HSC]...no cash out of pocket!

no....

looking forward to the final results...but for fun...you could show us the unfinished body, through the entire process... we've got nothing else to do around here 😉

favorite? None...because so much depends on what I'm playing [I'm pretty darned eclectic], and which guitar. For the past 7 years or so I have immersed myself into a thinline tele with 2 P90s...but I would not want a P90 on, say, my Danelectro 12 string...there, the lipstick p-up is nigh on perfect. I have enough guitars to know there is no one best pickup. The neck minihumbucker [Gibson] on my Epi AlleyKat is definitely special, but so are my '57 classics on my ES135, the DiMarzio SDS on my strat [bridge], the Fralin bridge p-up on my Tele copy...each serves a specific purpose...none is 'better' than the others in the final analysis. But this is why there are so many p-ups on the market.

not...

try putting the capacitor between the volume in and the tone out. I'm assuming they are both audio taper pots at 250K ohm.

slick...without seeing the wood and grain, then it is hard to point you at a specific paint [for different reasons]...and not knowing what color[s] and finish you are intending, there is not much to tell you. There is a lot of stuff you need to look up and at, and that's on you. The internet has the information, you just need to decide what exactly you are trying to do, but 'paint a guitar body' is too vague. You give us specifics, we give you specifics. Example: I prefer to paint with enamel. But softer woods, when banged, will allow the enamel to crack. So on softer woods, enamel is not always a great paint. Also, before you try painting that guitar body, practice on scrap wood, learn the 'sweep' and get a feel for the coverage. I have found that spray guns can vary a bit. You can actually practice with water, to get the feel of it, and save your paint!

Your spraygun should have come with a viscosity cup. The manual should have this same data specific to your particular model. The wood should be sanded smooth, wiped with takcloth, and lightly sprayed with soapy water and wiped off. Depending on the wood and the grain, and your intended outcome, there are decisions to make as to primer, and what type of paint. Clear coat? Poly is simple, inexpensive and easily obtained.