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First full build from scratch


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If it's anything like the rest of the generic plantation-grown Eucalyptus varieties, it should work quite well for a neck or solidbody instrument. Straight grain, probably a bit plain-looking. Can be a bit heavy so if you make a solidbody out of it you might want to consider chambering. If it behaves like the hardware store stuff that's available down here it might be a little bit splintery across the grain when milling, but like any timber you can always work around that.

FWIW, one of my previous builds used hardware-store Eucalyptus for the body and neck. The neck has been one of the most stable ones I've made to date.

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Thickness is dependent on whether it is bent or laminated. A couple of mm is much easier to form than 3-4mm. If you're laminating then it's a multiple of the veneers being used with each one being easier to form than a solid side. Thicker is more durable of course. You can go less, however that's more useful for acoustic properties where the lightness is paramount.

What can you manage?

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 Or at least, that's based on my limited experience. If you're going for a solid piece with large chambers, grain runout makes it difficult to get any reasonable thin-ness. I'd say that this is more going to be answered by your capability at this stage. Once you have a feel of the technique under your fingers you can aim for more ambitious targets.

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I can see that being difficult to rout with. I would have made two templates; one internal for chambering with no outline and one outline with no chambering. That way you have the maximum amount of bearing surface on your template for the router base. The problem is that any slight tipping when routing will in all likelihood cause tearout or complete destruction of the workpiece. I know that this is just the paper copy of course!

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6 minutes ago, spottydog said:

I never thought of that. What would be the best way to cut the grass templates to do that 

Grass? I'd make a couple of copies of the paper template. You've got to ensure they line up well so you don't end up with distortions between one and the other causing thin and thick parts.

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  • 2 weeks later...

Errors can be introduced from a number of sources. I calculate my neck angles by drawing a side profile of the instrument in CAD, including the fingerboard thickness in the centre and fret height. Translating that into useful work is a different matter. Where do you find that your difficulty comes in?

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2 hours ago, spottydog said:

I have used the angle detailed on the plan and on the template but after building I find that  the string action is too high which has put me off set neck guitars as once the neck is glued there is little room for any adjustment of the neck angle.

Personally, I draw the critical positions full size, based on the actual bridge, along with the lowest and highest saddle adjustment range, the fretboard thickness, the fret thickness and the planned action height at 12th.  I pitch the angle for the string to be level with one or two mm above the lowest saddle position.  This gives me a bit of wiggle room.

Here's a typical one of my drawings - as you can see, there's not a lot of detail ... just the critical positions:

_MG_9739.thumb.JPG.28764da6660f884a399e45c39153ab3d.JPG

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