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Showing content with the highest reputation since 07/14/2020 in all areas

  1. 8 points
    Seeing as I got a shoeing by Scotts burl beauty last month, I thought I'd enter Adrians singlecut that I was working on along side the bass build. Specs Chambered construction with PRS style f-hole, Bosnian maple top, African mahogany body and neck, Ziricote fretboard with maple binding and mop inlays. My usual Schaller Signum bridge and Sperzel trimlock tuners, bone nut (the first nut I've cut myself) PRS 85/15 pickups 1 vol, 1 tone and 2 mini toggle switches for coil splitting. The finish was done with Angelus purple and rose leather dyes, chestnut cellulose sealer, walnut grainfiller (on the mahog) and Morrells nitrocellulose clearcoat. The build thread is included as part of the billy bongo bass build
  2. 6 points
    It actually came with the jeweler’s saw I bought for cutting inlays, the whole thing was quite cheap ($15-$20) but the jig and saw both work great! Sanded it flush this morning and thank God it turned out alright, this is still dry with no oil and I’m hoping that will help blend in my “fixes” even better.
  3. 6 points
    Oak Hollow body guitar This was my 4th build, I wanted to try something a bit different recycling the wood from an old oak wardrobe, carving out the hollow body by hand and having a go at making my own bridge, tailpiece and pickup rings. Very lightweight with no balance/neck dive issues. Specs Oak body, with a bolt on Maple neck and a rosewood fretboard and brass nut. 24 frets 646mm scale. Oak bridge, tailpiece and pickup rings. Wilkinson Machine Heads. Wilkinson Zebra Pickups. Colron natural Danish Oil Finish. Build thread -
  4. 5 points
    Retrosonix "Bow-Tie" 25.5 inch scale. warman 5/2 tele bridge pickup. roasted sycamore neck and fingerboard. one piece ash body with roasted sycamore top. I wanted a lightweight guitar with minimal knobs and pickups so i had no excuse to just play.. i based the design on the MM st vincent and was also influenced the hollowbody explorer that Ben at crimson made. i got the wood just before lockdown and made it in my garden that i share with my chickens and ducks. the weather was great, it was a fun build.
  5. 5 points
    Thanks buddy. This one has been a serious test of that patience. Oiling neck. Finally it is similar color to the lacquered body core.
  6. 5 points
    Closing in.
  7. 5 points
    Hand built by robots for robots for Def Robot... The Def Robot Flying V Specs Sapele Neck though with Ash wings and a Panga Panga fretboard with a 10" radius, medium jumbo stainless steel frets and a Tusq XL Nut. 24 frets 646mm scale. Gotoh 510UB-C Wrap Around bridge Gotoh SG381-07 Machine Heads Seymour Duncan Distortion Mayhem neck and bridge set, with separate volume pots for each and a single tone pot with an orange drop cap. Stained with Crimson Guitars Black Stunning stain shots and finished in clear nitro Build thread -
  8. 5 points
    This thing is just about polished off, I just need to figure out where to keep the battery and install the controls for the piezo A few pictures. By the way I've reduced them 30% and hope they're interesting Ground rules, most important things first I used heat-shrink to pull the switch through, comes in handy for all sorts of reasons! One of these is a Gibson. You should be able to tell which one but not bad hey? The art of photography is something not to be scoffed at. Its quite a challenge to capture the chatoyance on 2D Under a different light You're so beautiful I want you back Who wants a chip? Up North there's a big hill called "Mt Nameless" I've been thinking its not a bad name for a guitar... Hope you all like the piccies and if you want to make a comment, go a head
  9. 4 points
    Swel AT1 This is my second build. First one was the zebracaster which took me an awful long time to get done, so I’m happy I did this one in ‘just’ a few months. My goal with this build was to create a design of my own in stead of using an existing template. The idea is to use this build as a prototype for future builds of the same model for sales to the public. Also I like to learn with each build so new for me on this build was a scarf joint and a recessed jack output. Also a color finish using spray cans was somewhat new to me Materials: Because this is a prototype I decided to use available woods and hardware as much as possible. I got some basswood from my woodshop ( www.masave.nl ) and I cut a piece of maple into several pieces for necks and fretboards. Background As I don’t have a professional workshop, the build was done mostly in my backyard, using available power tools. For planing/thicknessing I used my friends carpenter’s workshop planer. I don’t have a background in woodworking other than doing renovations in my own home and what I learned building my first guitar. Design The design was based on a couple of guitars I like a lot: · Ibanez guitars like the JS model: sleek designs with round shapes · Mosrite guitars : asymmetrical body · Heins guitars From a playing perspective I personally like small radiused guitars, but I want to make this model ‘allround’ so I gave the fretboard a 10” radius. The scale is 25.5”. Also to create a versatile instrument I’ve added a Schaller superswitch to create 5 different pickup combinations using 2 humbuckers with 2 different single coil modes. I designed an angled neck pickup for a brighter response on the high strings. Specifications: All the specs: Scale length: 25.5” Radius: 10” Body wood: Basswood Neck / Fretboard: Maple Pickups: Neck: Dimarzio Fast Track II, Bridge: Dimarzio AT-1 Electronics: 1 Volume, 1 Tone, 5-position Schaller P-switch, 0.1 uF tone capacitor Hardware: Gotoh Wilkinson VS400 trem, Gotoh tuners Nut: Graphteq Frets: 22 Slim Jumbo (6105 style) frets Position markers: 3mm abalone dots Decal: Swel is my guitar make name, which translates to a Swallow in English. Hence the bird/swallow decal. Video: I've made a short video showing the guitar and playing some things to let you hear the different styles and switch positions. Pictures: A blue chord needs a blue guitar! Rounded shapes, Gotoh Wilkinson floating trem. Had to route the neck pocket in a 1.5 degree angle to allow for proper floating setup. Headstock with Swel logo decal. Custom white trussrod cover. Graphteq nut. First attempt at a scarf joint and vollute. Gotoh Tuners. Maple neck. Shaped for comfort. Action setup comfortably low but allowing fierce playing. The back: recessed cavity cover for the electronics. The Trem cover is mounted on top of the back.. Shaped the neckpocket join for better accessibility to the high frets. flat curve for stable seated playing. 1V1T with chrome knobs and the Schaller P-switch. Body mounted pickups, 22 frets.
  10. 4 points
    Hi all. I must be the only person who's made far less progress than normal under lockdown. Oh well. Here it is. My latest progress.
  11. 4 points
    Getting back to work on this one and did a bit of inlay cutting today. I spent quite a while working on those little abalone crescent moons, but I wasn’t able to get them consistently shaped and thicknessed, so I don’t think they’ll stay. Still up in the air on what will go into the board other than the 12th-fret quilted maple bit.
  12. 4 points
    My wife said "it looks like your octopus is in jail" First of all, not an octopus. It's an unknowable cosmic god. Second, Cthulhu doesn't do jail, those are polarized vortex phase beams and they allow us to see it without going insane.
  13. 4 points
    When I was young and living in a small town in Holland it never occured to me that I could actually even buy an electric guitar! After I found out I could, I bought one and regularly visited the guitar shop of Wim Heins in Holland who was also building guitars. I already started tinkering with my guitar early on, changing a SC to a humbucker in my strat, rewiring etc. The ultimate goal for me was to build a guitar from scratch which I wouldn't have thought possible if it weren't for Heins. and about 30 years later it happened: MAGIC!
  14. 4 points
    I’ve played guitar for 50 years, and always done my own maintenance. There weren’t any guitar techs when I started. A couple of years ago I was challenged to build a Telecaster from a kit. After that I started to build my own guitars, about one a year, changing the design each time to get closer to an ideal gigging guitar. That’s more about function than looks. Binding, for example, reduces the damage when you knock your guitar against something hard. Pickup switching options increase the range of sounds, meaning fewer guitars to carry. Two years ago I started make headless guitars. Their tuning is more stable, and I’m less likely to clout the singer when the playing area is small. The latest has a Klein style body:
  15. 4 points
    I'm getting better at flattening two surfaces to glue together - and better at matching grain. The 1" heel extension is on: The bit that made me smile was that the grain in the walnut splice actually matches the maple! What's the chances of that? This heel extension gets the neck to the correct height. The slightly more scary bit is getting it to the right angle - but there's quite a few things I have to do before I can work out the angle and start cutting mortices and tenons. Nevertheless, that's a few more of the basic components starting to come together: The great big lump of brown-tinged ebony is what I'm going to try to carve a bridge from - when I can work out how to do that Thanks for looking, folks, and for the encouraging comments along the way.
  16. 4 points
    Still working out some details... but have a multilam neck blank glued up and figured I might as well create a placeholder for 1 of 2 basses I'll be shifting my focus to in the coming months... I'm calling it "Fish On". Going to be a 35" scale fretless but with fret markers. was originally thinking I'd do an archtop style bridge with piezo... but I just can't live with the idea of not being able to zero in on my intonnation, and none of the piezo bridges that are commercially available do it for me... so decided I'll go with a hipshot d style and string thru. I have tentative plans to do some piezo ribbons towards the neck side. anywho, below is my goal. I think I'm going to do a compound radius on this top, or at least a more aggressive radius... still working out the details. any/all feedback/thoughts/tom-foolery/encouragement welcome.
  17. 3 points
    Well, that patterning is definitely the wood - and now I've sanded down properly you can see the bookmatching. It has also toned down the contrast a touch. I don't know how well the photo looks here but in real life it's beautiful! There's an orange hue mixed in with the browns - delightful and further finishing will only enhance. It reminds me a little of those lovely Tasmanian wood samples you gave me, @curtisa (and brought literally in person from Tasmania to my home UK county, folks ) I've also tidied up the surround of the rosette - I'll put up a shot once it's dry enough to sand off
  18. 3 points
    The fitting of the bridge is perhaps the most critical part of an acoustic build. It simply has to be right. And there are big, big, problems if is isn't. First step was cutting the angled saddle slot. In the end, I had to make another jig - to be able to accurately use a router: Next was recognising that the top is spheroidal - and therefore the bottom of the bridge has to be shaped accordingly. I will use the old 'engineers blue' trick: First I put some masking tape on the top and put some school chalk evenly all over it: Rubbing the bridge a small amount on the chalk reveals the high spots: Sand the chalk marks off and repeat...and keep sanding the areas where there is chalk and repeat and repeat. This is starting to get there: As long as you only sand where the chalk is, you are always lowering the high spots. Eventually, there is chalk on every bit - and then you know it's a perfect fit. Next is position the bridge - scale-length-wise and double checking with the string lining up: Then cut round the bridge through the masking tape: Wood components have a tendency to float on the layer of glue while they are being clamped, and so need position positioning. So I now drill through a couple of the string holes and will use some bolts to position and help clamp during gluing: But, the main ooomph is a long reach clamp with yet another home-made jig - this one is to act as a clamping caul for the bridge body, and then the two captive screws clamp down on the bridge wings: And there it will sit until morning
  19. 3 points
    Finally got around to this idea ive had for a long time! it was way easier than i thought.
  20. 3 points
    Headstock plate ready to glue and fretboard glued: And does it still line up? Phew! The headstock plate will be glued on tomorrow - this is how the veneers worked out: All being well, I should be able to start the neck carve in the next couple of days
  21. 3 points
    Derail away lads! I always learn something from the conversations that happen on this forum. Yes the dust does get in there, but I’ve had good luck cleaning it up in the past, and after all it’s just the 12th fret inlay that will need it, plus it’s going to be dyed a color anyways. And yes @mistermikev it’s curly ebony - bought a $20 fingerboard blank and was surprised to find the figure hiding under the bandsaw marks! Got some routing and a tiny bit of contour carving done today. This is my first multiscale and even though I knew it was coming, the pickup cavities at different angles from eachother still freaks me out! Simple, clean cavity. Roasted curly maple cover from the same piece of wood as the neck.
  22. 3 points
    They are Stringjoy 10,13, 16, 26w, 34, 46, 64, 85 Boy, I just did sound test #1 and I’m not sure I could be any happier. Just tuning up the strings unplugged, you could hear how resonant it is. The coco / swamp ash combo is magic. Also, the pickups are just great with three voices and so much tonal range. String spacing is perfect. Action is super low and clean all the way to the F# 24th fret (cool sound that). Needs intonation, and the G string is a bitch as usual. I’ll never be able to play it like it should be played, but I don’t care. lol
  23. 3 points
    The frets were de-tanged at either end, ensuring that none of the tang metal was proud of the un-bound fretboard. As usual, I fitted the frets with a teeny thread of titebond, hammered in and then clamped with the 12" radius block: The frets force the fretboard into a mild curve and so, to sand down the fret ends to the exact overhang, I first clamped it to a straight edge beam, with the fret ends clear for sanding: Then I could turn the whole assembly round 90 degrees and sand all of the fret-ends straight and accurately along my long sanding beam: This made it quite easy to get the fret overhang even along the whole length and accurate to 10th of a millimetre. I repeated for the other side and then rounded all of the fret ends. So now, if my calcs are correct, I should have the target width of fret, and the binding less than 0.5mm deeper than the overhang - which they are and which it is : So now I just need to plane the top of the binding so that the bottom feature line is flush with the bottom of the fretboard. And then glue the bindings on each side: So when the glue's dried, I should have: - a silky smooth set of fret ends - a teeny binding overhang to round off - a trio of feature lines to set it off against the maple neck Fingers crossed!
  24. 3 points
    A question is always what to do about fret-ends. I usually de-tang the frets, fill the tang slot and then round off the fret ends. But on a few of my recent builds, I have experimented with what seems to be a win-win-win method of binding. It's worked well so far and so I'll be using it on this. Basically I: detang the fret ends; fit the frets with the ends overhanging; round and finish the fret ends; add a binding with a feature strip; round off and and slim the binding. This is what I mean: So the frets are overhanging - to an exact measurement (easy to do - you just sand the whole fretted board edge on to get to sub-tenths accuracy); the fret ends are rounded; the binding is sanded to exact height and glued on; the binding is rounded off and slimmed a touch so it is around a mere 0.25mm proud of the fret. So the win-win-win is that you get a demarcation line for free, you get a lovely rounded edge to your fretboard and you don't get sharp fret ends even if the board dries over the years. Anyway, that's the theory, and it does seem to work I have one more thing I have to check/do before any of that but, in preparation, I have a binding that couldn't have matched the macassar better if I'd tried!: And the same binding will go on the body edges (it's the 'manufactured' Rocklite Sundari product) Another final thing that P and I have sorted is the headstock. Here the intention is, if at all possible, to keep the string runs straight and to get the whole thing to fit into a standard OM/OOO size guitar case. Happily, while I was drawing it all up, the tuners (Schaller M6 mini) arrived and so I could see if it was going to work. I think it will. And have room for a couple of swifts: There's a few things to do and to check before I do any of this...but, anyway, that's the plan
  25. 3 points
    Its been a while since i last checked in. Hope you are all safe! Ive taken on way too much work. 12 hour days every day to catch up.
  26. 3 points
    No no, I wasn't kidding. Slightly cleaner, just top get a little clarity and the touch sensitivity, more of an edge of breakup like an OD vs fuzz. Or, MORE GAIN. That would sound pretty cool with a lot of heat on it. outraged, lol. You should shred on it and bring it back to them and make them cry.
  27. 3 points
  28. 3 points
    so... laid out my rabbets/dados/grooves... oh my! and started cuttin' some groovey grooves... with dido playing on the radio as I did the dados... and then white rabbits as I did the rabbets. good times.
  29. 3 points
  30. 3 points
    Managed to pop round to my friends house today and asked him to do a few licks on the guitar. Once he had cleaned that off he played a few tunes...
  31. 3 points
    I'm not sure arguing over who has the worst government leader has any value in any conversation. Every leader has proven to be a total cretin in some way to somebody. Bojo is no exception and I voted for him. That's politics. I also don't get the constant argument against farming meat - During feb-april, emissions fell up to 26% in many parts of the world but the power was still on and the cows were still farting, cars, trains and planes on the other hand... I speak as a complete hypocrite driving a gas guzzler but then I only drive a few thousand miles a year and if everyone one drove their cars a few fewer miles each day, didn't take as many foreign holidays, emissions would fall.
  32. 3 points
    Well roughed in the back carve last night, waiting on the bass body to cure. Added a bit more scoop to the back side of the cutout, pics later.
  33. 2 points
    And...the back is on! And the peg holes are reamed and the label is in: Tomorrow, I should be able to do the back binding and then I can start the final sanding and finishing process while I finish off the neck carve
  34. 2 points
    Well, that turned out to be a waste of time and money. I decided to try out Highline Guitars' method of taking a Dremel impregnated rubber polishing wheel, dressing it with a 3,0mm/0,125" diameter diamond ball end bit and making semi-hemispherical fret ends that way. As with most information on the Internet, this method is a bit hit and miss. I found that the dressing of the polishing wheel is very inconsistent. Once the edges thin out, they happily flop over and make it difficult to centre the profile of the fret you're working. It gets you some of the way, however the fine tuning ends up going back down the route of the method I've always used, and that's to "drag" the fretwire over an appropriately-sized crowning file, with each stroke starting almost parallel and ending up at 90°, then doing smaller strokes of the same to establish a hemisphere around the fret end. The most I got out of this technique is that I cheaped out and bought a set that included the correct arbor for the abrasive wheels and ended up with some compressed felt polishing mops which are great for polishing up a fret end. First fret. If you look closely, you can see my reflection in the fret end
  35. 2 points
    This is what my experience was like with the curly ebony. I've got small carbide end mill bits (1/16", 1/8") which cut well, but anytime there was a little corner or small freestanding area (think center of an 'O'), there was great danger of a chunks just flying off.
  36. 2 points
    Back switch adjusts the phase shift of the polarized vortex beams that allow you to see Cthulhu without going insane. The knob lets you dial that in with precision like a focus knob. Front switch chooses which pickup you want. front = pickups, knob = volume, back = three voices built into the pups. Modern, vintage, and single coil which uses the south coil on each pup (closest to neck coil).
  37. 2 points
    There are relatively few steps left before I can start the finishing process...but most of these final steps will tend to take a proportionately longer time because there will be lots and lots of accurate measuring involved, trial and error assembly and disassembly, etc.. And the first one of these is fitting the neck. I'm going to break from convention for the neck fitting. My preferred method is mortice and tenon with sturdy bolts and threaded inserts, which is also what I will be doing here (I did succeed in one build with a dovetail joint but can't afford the post-trauma psychiatrist bills again!) : But I have found - on my own OM and a dreadnought I built for a fellow band member - that over time the bolts sometimes slacken. It's an easy thing to fix - just a quick nip up with an allen key - but I don't want that to happen to an instrument that is a few hundred miles away. I think that it is that the mahogany simply compresses a teeny bit over time and temperature change and, eventually, this lessens the friction on the machine screw head. So what I now do is do everything in the conventional way with a bolt-on - up to and including finishing and a fully strung-up test of the action, intonation, etc, and then as a final step, take the neck off, add some wood glue to the joint and re-bolt. And so what about if in the distant future it ever needed a neck re-set? Well, see the heel? I will drill a small hole from here into a small chamber at the joint to allow a luthier to use their steam needle (that's what they use to remove set necks) to be able to insert it to soften the glue. Normally, I gather a luthier would have to remove the fretboard for access to the joint (I think that's what they do to fix a Gibson Les Paul and SG set neck?), but providing access here, all that needs taking off will be the heel end cap: And the flaw in the scheme? Well, as far as I know, no-one else provides this facility and, as a neck reset is only usually needed after around 30 years or so hard playing - and even then rarely needed - then P will have forgotten that this facility exists and almost certainly I won't be around to remind him Anyway - next task is getting the neck joint accurate and at the correct up/down and side/side angles. I have found that the best way is to use a carbon stiffening rod - they are dead straight - to line up along the frets and centre-line of the fretboard. You can see here that the left right angle needs a tweak (a very small tweak in the angle at the heel makes a BIG difference at the bridge): Just a hour or so of careful scrape, check scrape check gets me here: I double checked the up down neck angle by running the carbon bar up to the bridge. The rule of thumb is that a straight edge running up the fretboard should just rest on the top of the bridge and then it is the saddle that raises the strings to achieve the desired action. And it's OK. So a couple more jobs before gluing on the fretboard. One is the fretboard end. I've put to P something that mirrors the curve of the rosette and bridge. I'm thinking something like this: Still a lot to do, but hopefully it IS starting to look like a Guitar Bouzouki (what ever one of those is supposed to look like... )
  38. 2 points
    Trial run with the rough nut to make sure electrics are working as intended. Still need to finish nut, slight heel refinement, screws for pups (originals are too long), then disassemble and oil finish neck. Hella strings!
  39. 2 points
  40. 2 points
    Before I taper and fret the board I need to add the dots. For the 12th fret I'll put a couple of swifts there: Then some diagonals, parallels and perpendiculars to mark the centre-points of the other dots (actually going to use diamonds): And then the key dot positions routed for the diamonds and glued with epoxy mixed with macassar sanding dust: While I was at it, I fitted swifts into the blanks that will be used for the headstock plate and the heel plate: Cleaned up, the fretboard is now ready for tapering and fretting:
  41. 2 points
    Wood is a natural product by Mother Nature and the grooves and the pores within are there to transfer vital elements to make the tree grow. Some tree species have smoother grain than others, maple and beech are among the less groovy ones. Basswood is also pretty smooth but it can be a PITA to sand flush as the fast grown summer grain is much softer than that of the resting period. There's two ways to make a good looking solid paint job on a guitar. One is to sand it smooth and let the grain pattern show. In your case that's not the best option as the wood is made of several small pieces. So a glass smooth surface is what we're aiming for. As you suspected, filler is needed. After having got the shape right and sanded apply the filler all over liberally and after it has dried, sand it smooth. An orbital is definitely better than a grinder, a vibrating sander can be even better for fine sanding. Then again, a good block and elbow grease won't take too long either if you know how to sand by hand. (Trick: Use minimal pressure to avoid clogging!) Filler may not be enough for the smoothest surface, you'll also need primer. You can think of it as a thinner sort of filler. That has to be sanded as well. Then it's time for the paint which you may need to sand as well between layers. A clearcoat over the paint is optional but it can add an extra layer of protection to the colour. And even that can be sanded with very fine abrasives - wet papers and pastes - and finally buffed. Note that every scratch under the paint will shine like a lighthouse so proper sanding is a must!
  42. 2 points
    Over the internet, between us P & I spent a bit of time double and triple checking the intended neck depth and width. P already has a much loved Guitar Bouzouki and ideally wants this one's neck to be just a few mm wider and just a few mm shallower. That has meant that I can taper the neck blank widthways and depthwise. Within a mm or so, this is how the proportions are going to look. To my eye, quite pleasing: And getting the depth in the right order of magnitude meant that I could rough-carve the heel - I will creep up on the final shape once the neck has been profiled. I find the least damage I can do while removing the greatest quantity of timber is using microplanes. I hold them scraper-wise in gloved hands rather than using a handle: Then move onto a gooseneck cabinet scraper: As I say, the heel shape will be worked on over a period of time, but it gives me a head start: You can see here (although this clearly isn't carved and is a mm or so oversize) that the neck on a Bouzouki is quite a bit deeper than a guitar or bass. In terms of the profile, I always try to make sure - even though every instrument has its own feel - that a build has at least a comfortable feel of familiarity to the owner. So I send a profile gauge for them to take a few profiles off their favourite players and try, as best I can, to replicate that: The gauge is on its way to P as I type
  43. 2 points
  44. 2 points
    Wow. I like the creativity in your mind and the fact you know how to execute what is in your head. Good stuff! SR
  45. 2 points
    In the meantime, I decided to give my modest bandsaw a stress test! Multiple full length cuts of a pretty wide hard maple/walnut/hard maple blank. First, after cutting the trussrod slot, was dimensioning and squaring up the other three sides, setting the headstock angle and rough cutting the mortice: Then cutting the side profile: Because a bouzouki has a tangibly thicker neck than a guitar, there is no functional need of a volute but - on the basis that you can always take wood away but more difficult to put it back, I've left the provision on the blank. I will be adding a grain matched extension to the heel using some of the offcut, and that itself will be capped with a piece of back/sides offcut, possibly with a swift inlay incorporated as I did on my own OM:
  46. 2 points
    I accidently programed the mill to drill in the mounting screw holes after finnishing smothing. The screw heads melted. Couldnt unscrew it. For the first time had to unmount the cnc table and smash it from the bottom. Now i undarstand why cncs are meant to stand on high legs resin curves lack the sharp tips. Otherwise i'm satisfied
  47. 2 points
    As a player, I've been a beginner for maybe 12 years. My first couple of builds used medium tall fret wire and then I switched to jumbo and stayed with that. It is more forgiving for imprecise fingering and particularly barre chords. The down side is if you are heavy handed and squeeze too tight, you can pull your notes sharp. Fretboard thickness depends on a number of things. Strength is one. Two way truss rods press against a fretboard as it forces the neck to bend. U-channel, not so much. You need to leave a little meat under the slots to conserve that strength. If you have a tight radius to your fret board, the fret slots at the edges are going to use more of the thickness of the board. A flatter radius will give you more play. 1/16" at the center of the board is not uncommon for higher radius boards. And then finally you need to consider the thickness of the neck you prefer. Again for strength you want to keep some meat under the truss rod channel. I like 3/16" minimum, but certainly no less than 1/8". If you are shooting for a thin neck then go with 3/16' in the middle of your fretboard, and save some room for under the channel. If you like a chunky neck then a thicker fretboard is nice. SR
  48. 2 points
  49. 2 points
    Sissy Sissy's got a black limba body, maple burl top and HS cap, East Indian rosewood neck and cavity cover. She's got Gotoh 510 Delta tuners, Graphtec nut, stainless steel jumbo frets, Klein '59 PAF pick-ups and a Babicz bridge. SR
  50. 2 points
    So I got myself the dremel circle cutter as recommended by @Andyjr1515 which I'm looking forward to trying out. I also got myself some new bits for the dremel which should give me some options on the rosette design, I also got them as a quick and easy way to clean out/deepen bound fret slots which was something Christopher at Crimson did when I was doing a refret course there last year. I've got my kerfed linings in, still need to do a bit of sanding between them and glue clean up. You will notice a couple of small gaps - Areas where the kerfed lining didn't want to bend without breaking, I decided to pre break them prior to glueing. I can't remember if I mentioned before but I sanded the back on the 15' radius dish prior to glueing on the linings, glued the linings just proud of the side and blocks, then sanded again until everything was flush. I followed the same process with the front just with the 28' side of the dish, and I know I've become massively unfit over the last couple of years, but steering the bus on the radius dish is a serious ab workout And some context I've taken a 25mm forstner bit to the end block to make sure I can Now a small issue I have here - my plans states the width of braces B3 and B4 should be 19mm wide, but doesn't include height. I was advised that those braces are normally 14-18mm high so I went in the middle at 16mm high and 18mm wide. But they seem massive, did some more digging and it looks like old martin braces are much lower more like 8mm high so I need to carve them down a bit. I got this absolute beastie of a Record No8 on Sunday, with a few other planes from the same workshop clearance that the Bestcombi came from. Completely covered in rust as it hand't been used for years, but I scrubbed base and sides, blade and chipper with wirewool and salt and vinegar and got 99% of the rust off, gave the screws etc some oil, honed the blade and buffed it all with machine wax My god it's a good plane, jointing that spruce took 4 strokes. I know nothing about spruce, but that whiter strip on the outside of each piece, looks to me like sap wood so I decided to glue that up on the waste side. Now that the top is all glued up, I shall be having a go with the dremel circle cutter and attempting to make a rosette. I was going to go for walnut but when I was rummaging around in the offcuts, I found some of that golden pheobe leftover from Snuffy's bass, so I'm tempted to use pheobe for the rosette and inlays as a nice touch, and it has nothing to do with the fact that all my walnut offcuts are 1-2" thick and the pheobe is 4mm.
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