For a time, I had been using very small droplets of CA to hold an inlay in place while scribing and cutting the border. Now and again the bond was more than I wanted and I fear(from experience) dribbling acetone around finished guitar surfaces for removal. Sometimes even my little dabs just still stick too well, and prying with a shaped and sharp- honed palette knife has pulled up wood(this would be OK if the pulled up wood was always within the outlines of the inlay).
I have tried carpet tape but sometimes its elasticity allows more wiggle than I want while scribing.
Have any of you successfully thinned CA even more-to get instant stick down but easier removal. Or perhaps I should switch to a water based glue for the temporary affixing- slower to dry I suppose to be the only drawback there. Very clean inlay with little fill is one of the few above average skills I have which I can devote to luthierie-otherwise, you folks know I describe myself as a "hack."(but, hey, I'm an enthusiastic hack) I have been doing neck and peghead inlays on the 5 stringed "instrument which shall not here be named"
and working with smaller pieces of inlay but if I get good help on this I have a bunch of guitar necks to do as well-some with little components but more with larger pieces. (I can do Les Paul trapezoids and blocks mindlessly because I made a template pattern for my pin router-wish I could do the same with less mundane shapes).Maybe I should just use newspaper in between-often used for lathe turning temporary positioning?
Any advice appreciated. mt
NOTE; THOSE WITH "TAS," KEEP YOUR EYE ON CLASSIFIEDS OVER NEXT COUPLE WEEKS