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Showing content with the highest reputation since 11/06/2011 in all areas

  1. 9 points
    So late last year I started in on a new model based around a Super Strat that I ultimately named the Helix. I wanted to incorporate some things I like in a guitar such as a super thin neck profile, a deeper cutaway, magnetic truss covers and a thinner body and a few other minor things. When I started building the first Helix I broke out the video equipment and documented the entire process. To anyone who's done it you know shooting a build by yourself is a time consuming task. Stopping at each step of the build process to set up a camera slows down the build process considerably. On some tasks it would take me longer to set up the camera than it would to actually complete the task at hand. Over the eight weeks or so it took to complete the build I shot something in the neighborhood of 40 hrs worth of footage. The build was completed late last year but the footage has been sitting untouched on my hard drive for months. With 40 plus hours of footage it was a time consuming task just to roll through and view all the footage I shot just once to see what I had, let alone organize it all and edit it all down to a point to where its viewable. Anyways, after many hours of shooting, months of procrastination and many tedious nights in front of a computer I finally have the first installment complete. Now that I'm at the editing stage I plan on releasing a new installment each week until the series is complete. So with that being said I give you the first 6 min installment of my Helix build series. Part one. ~JW
  2. 7 points
    Yes sir. It makes it so much easier to get an even color. Here is the Paduak SS almost ready. This thing is a beast!
  3. 7 points
    Clamps off. I'll take that. It's looking a bit like a guitar now.
  4. 7 points
    Today's job was cutting the saddle slot. I used the Dremel with the precision router base and a 3mm bit: Rigged up a guide jig with thin packers that would ensure that it stayed level and flat when clamped down: Then clamped it, checked it all and slotted it: Drilled a hole from the slot to the cables channel build into the neck and put in the piezo element for a trial fit: Shaped the bone nut blank and strung it up. And blow me! The flipping thing actually intonates properly!!!!
  5. 7 points
    Hi all, this one is now done (except for a final setup and a cavity cover. SO pleased with it and a huge thank you to all who commented and offered advice. I really appreciate it. I also managed to get it photographed, which is rare for me. I would absolutely love to hear your thoughts. Now, off to start a superstrat, with a spalted maple top...
  6. 6 points
    Lizardburst spalted maple EXP!
  7. 6 points
    update: all done! update 12/15/18 ======================================================DONE!
  8. 6 points
    I decided to put a rose also on the headstock, to complement the inlay on the fretboard. This drawing is smaller than the others, because the flower has to go between the machine heads. I decided to inlay on the headstock also a drawing: the logo Delky. It's just a joke from school times, a nickname from my surname Del Col. The leaves are made with abalone paua, the petals are made with white mop and australian greenlip abalone. The contrast between the different colours of the shells helped me to give more depth to the rose. The writing is made with golden mop. As you can see on the picture, I always print several copies of the same subject, because each time I cut a piece of paper I ruin adjacent pieces. In the photo you can see the effect of the two shells used for the petals: the lighter stuff is white mop, the darker is australian greenlip abalone. Here is the writing made with golden mop. And this is the final effect when everything has been inlayed. I've also completed the flamed maple binding on the headstock. I have to improve my skills to cut miters
  9. 6 points
    For this guitar I wanted to do an intricate inlay and I choose one of my favourite subjects: roses. I started making inlays three years ago and it was immediately love with this technique. Most often I do small subjects like logos or writings, so this one is my second full fretboard inlayed. On the twelfth fret I decided to inlay a small ladybug (from which the name of the guitar) to vary a little and to create a colorful subject that stood out on the rest of the inlay. The drawing of the layout is always the most demanding part: I draw by hand, first looking for subjects, then marking them out with a pencil and finally creating the composition. This is a photo of an intermediate phase: frets 1-9 The final result is really similar to those drawing for children to fill with coloured pens When I have the final layout I cut all small pieces gluing them to mop, abalone, recon stones... and I start cutting with a jeweler saw. Here is the ladybug: red recon stone, ebony and white mother of pearl. She has no legs, cause they will be cut on the "leaf" where she will lay and later filled with epoxy mixed to ebony dust. Now the work is really repetitive: cut the piece, glue to mop, cut the mop, file blurry edges and start again. Sometimes pieces are really small! When I finish to cut all the pieces for a subject I glue them together, being careful non to leave gaps between the pieces. In the end this is the final result: approximately 250 tiles. Now is time to route the fretboard and inlay everything: to do it I use a Dremel with an aluminum base. All parts are glued with epoxy mixed to ebony dust which at the same time serves as glue and filler. This required near to 100 hours to complete. Cutting frets on this fretboard was really stressful! I don't have photos for next steps, but I bound the fretboard with the same flamed maple used for the body binding, I installed the frets and finally glued the fretboard on the neck.
  10. 6 points
    Looking at the weather forecast looks like I can start spraying clear tomorrow. Meanwhile: I got some Z-poxy recently from LMI to try as a pore filler, since the swirl is going onto the neck on the back and everything will be finished with full gloss clearcoat I figured I need to pore-fill the neck and headstock. Testing Z-poxy - rubbed in one coat, sanded back with P400 the following day, then another coat and sandback. Here's coat nr 2 right after application: Also, pickguard. A weird strat needs a weird pickguard: I'll probably use this as a testpiece before I make the proper one out of plexi - there are a few small cosmetic problems with this one.. but I want to have the guitar ready to play it in a show we're doing on July 15th so I'll most likely use this one then. Afterwards I'll see. Here's the hardware in place - I got 7-string singles wound for me by Zbigniew Wróblewski of Merlin Pickups (merlinpickups.com, a boutique Polish pickup company, Polish bands like Riverside and Vader use these for example). The plan is to connect them in series with an in/out-of-phase option, following Brian May's Red Special wiring, here instead of using 6 switches I can get the same set of combinations with 3x on-on-on DPDT switches. I also looked at the Red Special layout and tried to roughly position the pickups in similar spots along the strings to have similar phase cancelation+enhancement effects, for the treble strings I'm pretty close, then I diverge a bit (I didn't want to slant too much). Finally - a mockup:
  11. 6 points
    The controls will be hidden from the front and accessible at the back. I will have a powered piezo/mag pre-amp cum mixer and then, as a minimum, a blend and master volume. I might be able to incorporate a tone too if I can find a suitably small stacked pot. This is where they are supposed to fit: Bearing in mind that I still have to scoop 5mm or so from the back, it doesn't leave a lot of depth. Because I'm working towards the top - probably a thickness of 7mm max, I've gone for Forstner and chisels again. I've done the knobs chamber - now you see them: ...and now you don't: Then started on the main chamber. I reckon I've got another 3mm to go, with a lot of tidying of the carve too! Mind you - at least I got the cable channel in the right place With apologies to Scott for the poor carving so far: Talking of carving, you will have deduced, no doubt, that once the back is scooped and shaped, the control chamber cover will need to be carved too!!
  12. 6 points
    @2.5itim @curtisa Guys - I contacted the guys at Hipshot and they confirmed that there was an error of 0,27" in the offset. You got it more or less right on the head with 0,25". Bill passes on his thanks for snagging this and hopes that it didn't cause any inconvenience. Hipshot should be correcting their dimensioning in the meantime.
  13. 5 points
    Finished a few guitars this year. JamaicaCaster - Pore-Filled Oak top over Cherry Body Autumn Leaves - Quilted Maple over Mahogany The Iommi Machine - Myrtle Burl over Maple The Devil's Right Hand - Bubinga over Walnut 1967 Ovation Thunderhead Total Restoration JamaicaCaster Autumn Leaves The Iommi Machine The Devil's Right Hand 1967 Ovation Thunderhead Before-After
  14. 5 points
    I did also cut and glue up a headstock cap of Osage Orange. SR
  15. 5 points
    What's been happening in the Kemp workshop this week so far... Firstly, sorting out some wood for the new batch of customs just started, including this Ash (custom 7-string SD carvetop) body with Maple neck and Flame Maple fretboard... And today I've been carving the Leopardwood neck...
  16. 5 points
    They were commonly used on the field of battle, which often led the opponents to kill themselves instead of listening to the racket they make. It is however, a long way to the top if thou doest want to rock and roll.
  17. 5 points
    There was one fret which left a bit of a skid mark on the treble side, but any evidence has since been obliterated with the board being re-radiused. Back on to the neck, the heel has been reshaped to eliminate the beefy transition and the overall profile tidied up to remove any unevenness. There were a couple of lumps at various points that I've managed to level out, and narrowing down the sides has improved the overall slenderness of the neck without sacrificing thickness: The difference in heel transition is best illustrated here, with these obligatory before and after shots: And the black epoxy has also been scraped level and the logo finalised, ready to be re-sealed under clear.:
  18. 5 points
    Let's put some engineer theories to practice... ^^ According to the clamping pressure scheme that Prostheta shared earlier, and making use of a 40mm thick caul with the shape of the body, every clamp should cover about 80mm diameter around it, so I've made a circled template and start covering all the surface, marking the exact location of each clamp. That was cool because you don't have to spend time figuring where the clamp should be, which makes all the process a lot easier and faster. 27 clamps were needed for this operation. I got a clamp skyline. Hope it's ok, if I get a gap somewhere I will kill myself.
  19. 4 points
    Brown pigment is mostly varying parts of the three primary colors: red, yellow and blue. So when you put blue on top of brown, the blue component of the brown just adds to the blue layer, and the red and yellow components show in various degrees in different light sources and angles, giving you the green tints at some angles and the purplish tints at others. The light bouncing back off the wavy fibers of your figured maple adds to the effect. SR
  20. 4 points
    Completion, setup, wiring.
  21. 4 points
  22. 4 points
    I cleaned up the routing with my dremel tool and layed in the veener. I've not done that before and it was fun. I think it came out awesome and exactly what I was looking for.
  23. 4 points
    Yellow lines are rough chambering. Blue are potential carve areas. Ignore the other leftover stopbar posts, HB routes, etc. Fretboard is gonna be a full on starfield. I'm big into astronomy as well, so this is fun. I'm 100% ripping the internal bevel carve from an ESP FRX. It's EXACTLY what I was trying to visualize in my head but could not see it, until I saw one of those. Might need to address the headstock shape now.
  24. 4 points
    Life is a bit crazy busy so I'm a bit out of date with the progress shots. I carved the pickup chambers using my preferred method of leaving the router until last, and then just to tidy up the bottoms: I drill my critical radii: Then forstner and chisel: Then tidy up with a fully captive short trimmer bit: Getting these done meant I could glue the fretboard on: And start the carve - not quite there but getting close: It looks quite conventional from the front, but this view hints at the weight saving (and upper fret access) approach: Looks like I'm on plan so far for the sub 6 3/4lb weight target
  25. 4 points
    Good morning all. I know as a builder on this and other forums that people always clamor for audio samples of the finished products. I know I like to hear how these babies sound after following someones build thread So anyway, heres a song that features both of my GOTM and GOTY axes. The Phoenix build, and the blue 22 special. The rhythm guitar is the 22 special, and the solo is played on the phoenix. Theres a bit of a story that goes with the song. The short version is the lead vocals is my son Chris and the vocal track was recorded just a few weeks before he died and was the last time I saw him while he was still living. http://www.addictguitars.com/?page_id=4443
  26. 4 points
    They are finished! Don't know about you guys, but I like so much the final result, more pics is comming ...
  27. 4 points
    This is basically the official motto of Project Guitar
  28. 4 points
    I usually start building during summer holidays but this time it was a winter start I bought a swamp ash body blank at a guitar show in Stockholm, Neck and fretboard blanks were already in my possession: No access to the band saw at my summer house, Japanese saw it is instead: Routed the lines, shaped the headstock: Fretboard gluing, clamps-r-us: Well, there it is. No visible glue line: Ordinary dot inlays this time around: Shaping the curve between fretboard and headstock: Starting the neck shaping with files, knives, spokeshave, scrapers...: Headstock starting to look ok. The neck is also fretted now, forgot to take pics...: Swamp ash body blank and drawing of the body shape: Cutting the body with an electric jigsaw (no band saw, remember?) and then sanding it to shape with sanding drums on an electric drill: Rounding the body edges: Rasps, knives, scrapers etc again, Body contours!: Made two pickguard designs: Chose the larger one, made a few in different materials. The metallic one is sheet aluminium that i machine turned with a brass brush attached to a Dremel: Clear nitro as a primer/pore filler: Mary Kaye white nitro from a spray can: A little masking..: ... and Sonic blue nitro spray can: I really wasn´t going to do the little fiddly details on this one... Didn´t hold my promise. Logo time. Aluminium, flamed maple, red dye: Dying the neck: Many layers of Tru-Oil: Tuners on, not much left now: And done: ...and another little detail, a switch tip to match the body and pickguard:
  29. 4 points
    Real life has been getting in the way again so I had to down tools and do other stuff for a while (lots of welding, mainly). I've also had a bit of a delay getting hold of the wood I need, but hopefully that'll be sorted in the next couple of days. In the meantime, I got new stuff to play with from G&W I could have gone silly and melted my cash card on that site, as there's so much cool stuff I'd also picked these pickups and bass bridge from Thomann a couple of weeks back: I liked the fact they came in a kit with all the wiring as I'm new to that side of things. The instructions seem clear and most of the connections are solderless. Hopefully I'll learn a few things installing these. I also got these awesome individual bridges for the headless V. As an engineer I just love getting my hands on things like this which are so beautifully made. I still can't find a decent headless headpiece though (I can get one from the ABM website, but it's bloody expensive!). Are headless guitars not as popular as I thought? Any opinions or advice on that one? As I mentioned in a previous post, I can fabricate something but I'd prefer something 'off the shelf' really. While I'm waiting for wood and finishing up other stuff I won't get making the guitar properly, but in the meantime I checked to see how some of the parts (pickups, bridges, pots and knobs) fitted into the MDF prototype. Everything seemed to fit fine, though there are a few changes to make to the CAD file before I get routing. I'm pretty sure the knob layout and position won't be to everyone's taste, but they function fine and I like the aesthetics of it Here's another view. I haven't decided on black or amber knobs yet, so I tried one of each here. That's it for now, as soon as I get some hardwood I should be able to get building proper. Also I'll try and post a CAD pic of the bass in the next couple of days. Z
  30. 4 points
    Decided to round off the edges the old school way - using my vintage spoke shave which was given to me over 30 years ago, it did need a bit of a sharpen but then was ready to go. Then it was time to use it to start shaping the body, ran my belt sander over it to get the rough shape and finished off by hand to get yhe final shape. Then the whole body was sanded using 120, 180 and 360 grit sandpaper after several hours of sanding my arms and fingers told me that they had had enough so after cleaning up went iI ndoorsand and thought it would be a good idea to make sure everthing went togrther. The weather forecast for tomorrow is dry so maybe the final sand.
  31. 4 points
    Thanks guys! Ok, so here it is: As I said, not what I was looking for, but still can work I guess.... at least is more ergonomic than the original carving. It still needs some work. I have to remove all the bumps in the mahogany stripe and I wish I can remove also that dark stain in the top, I think it will disappear after some sanding... let's see. Cheers!
  32. 4 points
    Over and out: And for @KnightroExpress 's benefit, some obligatory roxxorz: https://dl.dropboxusercontent.com/u/24052640/HM7 Test.mp3 Regarding the Fishmans, cleans were neck + bridge on voicing 1, distorted rhythm guitars were bridge pickup on voicing 2 and the various leads/melodies were either neck or bridge on voicing 1. Ended up redoing the nut. Despite the fact the strings were unlikley to pop out of the shallow slots I wasn't happy with the way it looked. In hindsight, if I'd planned it better I think I would have tried a zero fret with these string locks. Their proximity to the back of the nut makes fettling the nut slots quite time consuming, as you can't just slacken off the string and pop it off to one side to fine tune the slot with a file. Every time you have to tweak the slot depth the string has to come off altogether and then the string lock needs to be removed from the headstock to give you enough room to use a slotting file.
  33. 4 points
    I'll change a few frets between 1st and 12th, but that won't change the appearance, so I'll call this done! What's left of the original? Well... Here's an before / after photo: 0117-001Before-after by Goran P, on Flickr They don't look much alike, but it's the same top, back and neck. The bridge insert out of brass was a first, and I think I'll probably make more. It took just a few minutes, it shapes nicely with just a file, and seems to sound nice too. The only problem I had with it was soldering, I had to pull out the big soldering iron for that. I think I learned a few things from this, and it sure was fun! Now, I'll start finishing the SG between repairs!
  34. 4 points
    A friend of mine clear coated the guitar for me, and this is the result so far. It still lacks a pickup (in the making, I was rather surprised by the sound but it still needs an ebony cover and probably an ebony pickguard) and a trussrod cover. The guitar sounds alright acoustically although it is not as loud as I would like. I have learnt to appreciate the craftsmanship of professional luthiers all the more through this. Thanks for reading!
  35. 3 points
    And...…...we can all breathe again Clamps came off this afternoon and the first area of concern was OK - it had held! I took off the masking tape and there was surprisingly little squeeze out and glue creep. The tool you see here is a tool they use for prising the backs and tops of mobile phones. Superb for gentle but effective scraping! It scrapes off the glue without scratching the finish at all: An hour of gentle scraping, judicious use of single edge razor blade to get rid of any sharp edges, then progressive micromesh grades and finally a bit of polish, and I reckon this is as good as I could have hoped: There's one teeny light line at the side - ironically this isn't glue...it's where the crack had got to and is a slight crazing of the original finish which was evident in the original issue. I'm going to leave that! The repair is from this line to the left for about 2.5" In fact, you can see the other side crazing just a touch too. And I'm going to leave that as well
  36. 3 points
    Prepare for a very dry update! The first pickup ring is basically ready to go, apart from tidying up one screw countersink, and I'll cut the 3º angle in when I have both ready. I took more photos than this post deserves: Untitled by S K, on Flickr Untitled by S K, on Flickr Untitled by S K, on Flickr Untitled by S K, on Flickr Untitled by S K, on Flickr Untitled by S K, on Flickr Untitled by S K, on Flickr Untitled by S K, on Flickr Untitled by S K, on Flickr Untitled by S K, on Flickr Untitled by S K, on Flickr Untitled by S K, on Flickr Untitled by S K, on Flickr
  37. 3 points
    When you posted, this was on mine: It's a save in progress of a very nice Sei headless bass that had developed a very large crack in the top that was cupping away strongly from the centre-section. This is the gap that those clamps are closing: Here it is fixed: And the saved Sei
  38. 3 points
    As Scott says, I've been going slimmer and slimmer. The balance of factors is basically: thickness is about weight; thinness is about practical considerations of functionality. For a neckthru, the considerations are accommodating the depth of the pots, etc and the depth of the pickups and fixing screws. For a bolt on, the additional consideration is the neck pocket platform. Additionally, balance has to be considered if the body is light and the strap button (top horn) is rearward. My personal conclusions so far are: 1" is about the limit for a neckthrough but this takes careful choice of hardware. 1 1/4" allows use of a standard jack rather than a cylinder jack and also is about the limit for a bolt on 1 1/2" allows some deeper electric such as some push pull pots but is about the limit for the heavier woods 'normal' weight without chambering 1 3/4" without chambering is going to be heavy with many woods Above 1 3/4" without chambering for the heavier woods is going to be too heavy for many players I stress these are personal conclusions...
  39. 3 points
    All right, I've focused my threads on (mostly) one guitar at a time, but I think I'll join the popular "joint thread" movement. Maybe because since I finished the blue multiscale strat I don't have anything fancy in the works (until I start on "The Druid 2.0"). So here are the three builds that are running right now. The strat had a head start and then I wanted to finish it quickly so I shifted most of my attention to that, but now I'm back to the other three, that are moving more or less in parallel. So let me back-trace the builds a little and show you where I'm at. First is a bass - I need a 5-string bass for my personal recording projects (mainly rock and metal covers of various stuff that I'm doing since ~2000). So I figured I'd build one, making it multiscale to have a nice long scale for the low B. Here's a pic of the body wood: from 2015.. This used to be a book shelf, actually a couple of shelves - was enough for this body and some necks. I'm not sure that this is, I suspect oak. Anyway - this is not quite thick enough for a standalone body, but with a quilted maple cap it's perfect: (I slapped some dark veneer between the layers to get an accent line). The neck is plain old maple, it turns out that it wasn't exactly long (and wide) enough for the headstock after doing the scarf, so the headstock is some horrible patchwork of maple pieces - that will be covered by the maple cap so not a huge deal. new way to thickness the headstock: run the outline with the router to a depth which is the headstock thickness + a few mm: then saw off the back part along the bottom of the route: I think I then cleaned it up on a spindle sander with a fence. The fingerboard is bocote, slots cut by hand over a template printed out from fretfind using a complex purpose-built jig: Then glued to the neck, using LMI epoxy: The template for my usual 12-th fret inlay marker pattern: Then pressing the frets in, cutting the neck pocket, rounding over the body edges.. I don't have pictures of that. Fast-forward to now - measured the bridge locations and drilled the holes for the ABM single bridges that I'm using on this build. Mounted the two external bridges to verify alignment (and make a sound ) There you go, now I need to profile the neck and carve the tummy cut, which will be an interesting exercise since I made some weight relief holes in the body but forgot to photograph them and I don't remember if I took the tummy cut into account when laying them out. In other words I don't know how deep I can go, exactly. Sounds like fun. Yea, this thread should be called "how to be lazy and still get a decent instrument at the end". Or "don't be lazy or you'll end up building a crappy guitar". We'll see.
  40. 3 points
    Time to make the neck look more like a neck. Marking it out and locating tuner holes. Let's cut away most everything that is not a neck. My rabid beaver makes an appearance. Cheers @RestorationAD He did clean up after himself. SR
  41. 3 points
    Chasing perfection much? Make a guitar already!
  42. 3 points
    Here is the granadillo neck ive been working on. This stuff is amazing. Polishes to glass with just 2000 grit.
  43. 3 points
    It must be cursed wood since before it was planted. It came out pretty well after that. Got a few fisheyes that need to be filled.
  44. 3 points
    "Similar to Mahogany". Okay. Well it's not the stupidest thing he's said. I have to play both sides of the fence on the tonewood thing. Firstly, I don't think there is such a thing. It falsely inflates certain woods with a nebulous reputation which is rarely realisable on a non-acoustic instrument. On the other hand, some woods affect the instrument and how the strings strapped over them vibrate. It's a system even if you're using magnetic pickups. A rubber neck would sound different to a steel neck. Wood is just a narrow band of characteristics in between those two.
  45. 3 points
    Yeah Scott, that's normally how a mandolin burst is done. I'm not set on doing that though. I'm not planning on binding the back, and am still waffling about whether to bind the front or not. I really like how the hook/scroll looks unbound. If I don't bind either and end up doing a burst I will probably do the sides in the darkest color of the burst. Even if I bind the top I may do that anyway, so that I can just continue the burst onto the back and give it a nice organic look. Anyway, I enjoy toying with these details in my mind and will make the decision when the time comes, and not before. As far as the 1918 F4, my wife and I were visiting Nashville for my 40th birthday, nearly two years ago now and so of course we had to stop in at Carter Vintage and Gruhn's, just to noodle around. Well, I saw the F4 at Gruhn's and played around on it for a while. My wife loved the antique look of it and said, "You need to buy that". Well, I hadn't been planning on buying anything, but we left for lunch and I thought about it for a while, came back and bought it. She twisted my rubber arm. She's a good woman.
  46. 3 points
    Hi Technically old news, but I've only just found out that my Camphor Single Cut bass got 'Bass of the Week' in the slick US-based bass guitarist e-zine 'No Treble' in one of June's editions! http://www.notreble.com/buzz/2016/06/20/bass-of-the-week-ajr-guitars-singlecut-bass/ Well chuffed....particularly when I see some of the others that win Apparently, the owner submitted it some time ago, but he himself has only just realised it was successful! That'll take more than a box of lemons to wipe the smile off my face! Andy
  47. 3 points
    Thanks Scott. I was busy this weekend and couldn't make much progress, but hey... I put the logo. This time I've used a sheet of perloid... once it's sanded it looks very similar to MOP, and is quite cheap. I think I have enough for 50 more alien heads.
  48. 3 points
    Already started buying hardware It will be a walnut & maple 5-string, multi-scale, neck-through bass
  49. 3 points
    No he didn't. The world just wasn't strong enough to keep him in it. Lemmy's life was one livest completely and fully to the edges. If he'd lived to 35 or 170, life would never have been large enough to contain him. Honoured to spend my life on the same planet, if only for a short period of time. Lemmy remembers before rock n' roll, and without him the rock is left empty. Shame it wasn't Lars.
  50. 3 points
    A word of advice. If you use a water-based glue such as Titebond (as I do) then leave the neck a few days after unclamping. The moisture in the glue swells the wood so if you plane and sand it straight now, when that moisture dissipates the wood will shrink slightly, making the previously-straightened wood uneven in the opposite direction instead. I do exactly the same thing when I remove a lot of wood from a neck blank also as the internal tensions of wood can be released after cutting turning the formerly straight wood into something resembling the rockers for a rocking chair. A week is a long time to put down a project, but sometime you are thankful that you did when you come back to a workpiece and find it pretzelled on you due to glue or whatever. More often than not - with good wood choice and work practice - this does not happen. This week the other students were prepping a load of boards for a course project and we hit a bad batch of Mänty (Pine). Every board closed up around the back end of the table saw during cutting which kicked them back crazily. That tree was a pernicious badass so we sent it to burn.
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