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  1. 4 points
    Just for the heck of it, I took my Tele template, and on some thick posterboard, traced one side, flipped it and traced the other side. Then rounded out the bottom. And cut it out. I then took some cherry wood and some purpleheart I had lying around and introduced them to Titebond. Then I took the aforementioned template and traced it onto one of the laminated plates and did unspeakable things to it with a Forstner bit. Took that one and put it on top of the other with more glue. "Scotty, I need more clamping power!" "But Cap'in, She canna stand the strain!" "Blast it Scotty, just get me more clamps!!" Scotty sighs, "Aye Cap'in." . Once the whole thing cured, I subjected it to the bandsaw. Thence came the spindle sanding. After which I found some maple. Put them together and did some trimming with the router. That's how she stands now. I shall return with more. In the meantime, remember the words of the great Groucho Marx, who said "Outside of a dog, a book is man's best friend. Inside of a dog, it's too dark to read."
  2. 4 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
  3. 4 points
    And the braces are on ready for fine tuning I've roughly profiled the cross sections to a more triangular/parabola shape. Next steps will be to add the maple bridge plate and there is a small strengthener that goes across the X brace centre joint. Both of these make a difference to the flex of the top and so need to be in place before I do the final tap-tuning. Having said that, it already is returning a wide variety of notes and harmonics, which bodes well
  4. 3 points
    Many thanks Andy. Really pleased with how it is looking. Here's a pic for @ScottR as promised
  5. 3 points
    Whilst waiting for the neck to cure from oiling, I did some sanding on the body and gave it a bit of a buff. I have left the pores showing on the back as I like the effect it gives. Sorry @ScottR no trees yet, was going to try and get some on the front, but it clouded over and I lost the light hopefully these clouds on the back make up for it... The front is a lot smoother... Will probably do a bit more yet as it isn't totally smooth in some areas Next job though will be tidying the fretboard and then a coat of oil so I can get started on the frets.
  6. 3 points
    You take me for a scientist, sir. I'm assuming that the enchanted juice releases the spyrit from within the wood. As soon as it reaches the surface it is communicated with the atmospheres of hell which freely float among us - to then produce the infernal burning and ash coating of eternal damnation.
  7. 3 points
    Glue up went well and I got got the brace carved with a thumb plane and a scraper Once I got the other braces cut out, I marked round them with a scalpel then used a razor saw to cut away the waist material on the bigger two, but I managed to lightly scuff the back in a couple of places with the saw to I switch to chisels and got on much better I've marked a centre line and where the carving will start on each of the braces. Then I offered up the sides to I could mark where I needed to cut the long brace short, scored it a few times with a scalpel then managed to work a big chisel underneath and carefully popped it off fairly cleanly. And I found a razor blade works really well for getting rid of the excess glue Fits quite nicely Still waiting for kerfed linings, but radius dish is coming tomorrow so I can start on shaping the braces and perhaps get them glued on.
  8. 3 points
    I don't know why it's called a Go Bar Deck...but it is. Basically, two pieces of chipboard held apart by some sturdy bolted treaded rods; the radius dish placed on the bottom; flexible rods (the Go Bars) pressing down the curve-bottomed braces into the radius dish while the glue dries: And here are all but the last four small braces. This will be left overnight for the glue to fully cure and dry and then I'll add the last four braces. And then we will have a subtly spheroidal top ready for the braces to be slimmed in cross section - and then the tap tuning can commence
  9. 3 points
    Made a new one, I wanted to make the inner holes smaller. Really pleased with the result. All I need to do now is route a 1/2” slot. This is going to add some mass to the body, it weighs 3.7oz and is made from stainless.
  10. 2 points
    Very nice looking wood combo on the inside of this thing. No matter how it ends up, we all know she has classy innards. And I have great faith she'll be a charmer on the outside as well. SR
  11. 2 points
    Nice score on the No.8
  12. 2 points
    I’ve got a regular 12” Thiele cab, and then ran into a 10” EV Force 10 which is like a mini EV12L. Even though the TL806 was designed specifically for the EV12L, I thought what if I shrank it down to fit the 10”? So, I scaled the plans directly in Illustrator and re-measured everything and then built it. Surprise, it works excellently and actually sounds like a 12”. I’m most proud of the Tolex, I’ve done it before but it’s not easy. I’m using it with this tiny little Mesa TA15.
  13. 2 points
    Mine is the Fiddes. I did look at the Osmo but couldn’t get it and this Fiddes rated highly. You only need a very small can, 250ml. This is very different from other oils. It dries quickly and really hard. Here’s a slightly better pic with about three thin coats.
  14. 2 points
    As a child I was impressed by the "Magnificent Seven" ads by Yul Brynner promoting Malboro and consequently took up smoking at age around 14. There was no law against it then. Children could go down the shops to get ciggies for their parents but at some time they brought in this "over 18" law It took me a long time to give up completely. I would give up for a few weeks then start again but next time it would be a few months before I'd start again. The last time I had a smoke would have been 2004
  15. 2 points
    There is one further major tweak I'm going to do on the braces. The three dreadnoughts I have built all have a major cutout at the bridge side in the main X-brace: While the first time I used this design I was nervous - surely that is the critical component in terms of strength??? - nevertheless, these three dreadnoughts have been outstanding in their bass response. This one above is Matt Marriott's whose videos I have posted in the past. But, I've never seen it done on an OM shape before - and I'm always a bit nervous with acoustics of bucking the trend too much. But, in looking for an example of deeper bridge plates for @curtisa (and this one actually isn't a bad example), I came across this: I'm ignoring the cross brace behind the bridge plate - because that's a completely new one on me - but this is an OM shape and it has the same scoops in the X bracing as my dreadnoughts. So I'm going to give it a go I mean - what's the worst that could happen Oh yes...I suppose that could happen
  16. 2 points
    I quit September 10th 2001. I thought that quitting was giving me some sort of hallucinatory experience. The worst of it was going to the pub and wondering why my hands felt anxious and underutilised.
  17. 2 points
    Whatever you do, don't be tempted to start vaping. I went from smoking no more than 5-6 rollups/day to chain vaping, my reliance on nicotine is much worse than it ever was, In other news, I went to the pub this evening for the first time in about 4 months. God I've missed the pub.
  18. 2 points
    So on to other things. I quit smoking cigarettes 12 weeks ago, I continued smoking my pipe though until Tuesday night when I ran out of tobacco. Day 2 (today) is a strong urge to buy more tobacco. LOL!! No, I am not going to the store, the next week or so will be hell, but I am determined to quit after 50+ years of smoking. MK
  19. 2 points
    So here you can probably see better, @ADFinlayson, the 6 places where the braces will be keying into the lining to the sides and the other 'tone-bars' fizzling out to varying degrees of nothing before they get there. Now whether I've fizzled out in the right places in anybody's guess but fizzled out I am and I think I'll be stopping tinkering with the braces round about now and turn my attention to the back Oh - and yes - I will be putting some reinforcement under the soundhole, but - in that nothing from the X-brace join to the neck heel makes much difference to the variations in the tone - I won't need further tweaks of these main braces.
  20. 2 points
    Yes it does. Or at least the test piece did. Part of the greyness is trying to photograph total black. Quite possibly harder than photographing total gloss. Which I know you know a thing or two about . . .
  21. 2 points
    Well, @ADFinlayson, to butcher an old phrase, this is probably a case of the blind leading the partially sighted (that way round intentionally). But - here goes. First - and by all means skip to the last 15mins or so when the guy starts actually working on the braces - but this is the best video I have come across where someone not only says what they do, but lets you hear the difference.: And bear in mind that my 'where I finish' is closer to his 'before I start, this is what it sounds like' than once he's finished fettling it! But never one to shy away from spouting about stuff I don't really understand... - Yes - the main X braces and the top one in front of the soundhole go through the lining to be locked into the sides (remembering that my top is slightly oversize. Those 6 main brace ends will go fully into notches in the kerfed lining and butt up against the sides) - but the smaller braces thin down to nothing shortly before they reach the side linings - the tap tuning process is a process of changing the flexibility of top so it is capable of resonating - somewhere on the top - with every note that is going to be played on the instrument. - so when you are tap tuning, you are tapping the top in various places listening out for the fundamental drum note but also the ringing harmonics. In crude terms, the more different notes and harmonics you can hear, then the more even and clear the instrument will play. - 'flexible', in my experience, is still pretty darn stiff. But, say at the bass side of the top, the more flexible it is, then the lower the notes and harmonics should be. At the treble side of the top, it ideally wants to be a little stiffer, which will vibrate in harmony to the higher notes. - so - and here I really am spouting beyond my understanding and experience - with the two shorter braces angled up at the left and the two angles up at the right here...: ...then I will be chiselling the righthand ones lower, and scooping deeper, the right hand ones that are on the bass side of the instrument. On the last dreadnought, they were almost chiselled away! The result is that the right hand waist will now be tangibly more flexible than the left hand waist. My analysis is - the left hand ain't going to budge a gnats whisker and the right hand will tangibly move. But it's a stretch on the term 'flexible'. By the same reasoning, the two long braces coming off the X brace under the bridge area are already scooped in the middle, forming the 'nodes' but the thinner that becomes, the more the main area of the lower bout will flex and the more bass response you will get. But you don't want to lose the upper harmonics. What I SHOULD do, one of these days, is build two tops and carry on tweaking one of them until I have gone too far! Because, I suppose, that's the only way of knowing when to stop. I stop when my waters tell me to. Which is probably usually a bit too soon...
  22. 2 points
    A couple of updates from today. Did a bit of tidy up on the headstock and tested the truss rod cover in place. Still a few marks near the nut that need tidying up. Also sanded the body back and tidied it up, the logo looks a lot better and is totally level with the body. Still needs going over with a rubbing compound and final polish. Very happy with how it is looking with the hardware. Still working on the neck, so haven't oiled the fretboard yet. Getting closer though...
  23. 2 points
    And while the bracing is drying, there is time to start putting the linings around the edges of the body sides. These held strengthen and stiffen the body but their main function is that the top and back will be glued onto these. While the edges are also glued, those joints will actually be routed away to fit the binding on the external edges. The kerfing (the saw cuts) allow the linings to bend round the fairly tight bends of the sides. The clothes pegs with stiff rubber bands wrapped round provide more than adequate clamping all the way round while the glue dries. At this stage, the linings are set a mm or so proud of the sides because - on account of the top and back being spheroidal - they will be planed at an angle and sanded in the radius dishes to produce a good fit all the way round prior to gluing.
  24. 2 points
    I agree, spoke to Matt yesterday and he's really happy with it, good choices were made! Yeah I think oil is definitely the way go go with this one, I'm also looking forward to doing an oil finish for a change as I haven't done one 5 guitars ago. also much less work than lacquer! I've never used any plans for any PRS style builds, just acrylic templates from G&W. In fact the only time I've ever used bought plans is for the current acoustic build I think it must depend on the tele, Matt has a mexican 72 walnut duluxe, but it's not walnut at all other than a paper thin veneer on the top and back, the body is alder and it's fairly light weight, just tinted to look more walnutty. Yeah I am most definitely not a tele man, I'd have one made out of a piece of walnut like that, but then if I had another piece like that, I'd probably make something with carved top out of it Got the angle grinder out earlier, needs some finessing but it fits my rotund belly nicely. I put the template on the back and drew round so I could see where the chambers are, did not want to make any rear facing sound holes
  25. 2 points
    And the timber is here! And so to the top bracing. This Bouzouki is based on an OM acoustic guitar and the bracing pattern will be identical. And it's all a bit precise. My understanding is that legend has it that Martin in the thirties (?) did a bracing pattern that just, well, worked. And from that point 90 odd percent of acoustic guitars have been, and still are, made with the exact same bracing pattern. I probably have my facts completely wrong but my philosophy is that - like banging dustbin lids to keep the elephants away - it works and so that's what I'm going to continue to do! So, for those who haven't seen an acoustic build before - a flat-topped acoustic generally isn't flat. Most have a spheroidal shape of around 25 feet radius for the top and 15 feet radius for the back. So you have to make (or buy) a 25' and 15' radius dish, you have to curve the bottoms of the braces and then you have to press the braces into the dish to force the flat top into the final spheroidal shape. The process will become clear soon (probably tomorrow), but today I was cutting the braces blanks for the top. This is a straight piece of spruce sitting across the 25' radius dish: It's subtle. But the bottoms of the braces have to be planed and sanded into a curve - and because it's a sphere, the actual curve needed is different depending where each brace is going to fit. First is the well known 'X' brace which is two pieces curved underneath and locked together: And here it is in position on my home-made MDF 25' radius dish. Difficult to see, but both lengths are now completely gap free on the dish: The braces will have a LOT of work done on them, but it makes it a lot easier to remove some of the bulk by starting to cut them to side profile, especially in terms of the positions (again, very precise) of the peaks you can see below - the 'nodes'. Here we now have all of the braces for the top, rough-profiled but finish-fitted on their under-sides to suit the radius dish at each of their respective positions: And tomorrow, these will be glued and pressed into the radius dish to form the basic top shape. I might do some work on the cross-sectional profile of some the braces before they are glued in...I'll have a think about the best way round to make the access for the final shaping of the braces as easy as possible.
  26. 2 points
    If you're going to go outside, remember that's the place where we wear the pants.
  27. 2 points
    so... here's my cut sheet... and here's my prospective jig so was thinking I might do slots for the attach points of the rail (pictured in dif relavent positions) so I could slide it and then bolt it down. the center "eye" is going to be a knob/handle of some sort... with my other hand going on the knob of the router. I figured I needed to do shallow passes anyway to prevent damage to the finished side of the 5x5 sheet... this should give me enough leverage to maintain control and a tight coupling to the edge of the sheet for the first channel... doh... just saw my first mistake... router bit needs to be 3/4 so it create a 3/4 channel so my spacing is off by 1/4" right now. the plan being to make the first cut vertical from the r side of the sheet to cut the back/baffle/shelf, then ride the 3/4" piece in the 1/2" depth 3/4" width slot and make the 16.25" channel... then repeat, then ride the north factory edge to make a channel 26.5" from the edge, then ride the channel to make a 24.5" channel. then use a jig saw to bust out the pieces and follow again with a pattern bit. anywho, thanks @Bizman62 for encouraging me to not be lazy and do a drawing!
  28. 1 point
    This expresses my thoughts exactly! By the way, what are the spaghetti rods for?
  29. 1 point
    Thanks Andy, I will get those braces trimmed down before glueing it all together. Those sanding discs aren't included but G&W sell them too
  30. 1 point
    omg... well if you are going to break a bit I doubt you could break one better than that so... congrats?
  31. 1 point
    Thanks for chiming in Yes I tried 3 different ES-135's once and they all sounded different. I tried one then the other then the other and each time I picked up another one it sounded better than the previous. Then I realised I was going round in circles! So its a funny thing, it can be difficult to assess which sounds better or just different Playing through an amp levels the playing field but after a while if a guitar doesn't sound nice to me accoustically, I start to notice it plugged in and it nags me LOL Yes Australian dollars use the same symbol but $400 USD translates to quite a bit more in AUD The maple from the local place is from North America, 'rock maple' as they call it. US or Canada not sure Well I think this is what I mostly want to hear, that other people do actually buy these things! cheers!
  32. 1 point
    Years later Yul Brinner appeared on TV to help promote the Quit campaign (or whatever it was called) and he said "whatever you do in life, don't smoke, just don't smoke" He had the most serious look on his face and was looking straight at you, I always think TV is full of half-truths and smoke & mirrors, but on that occasion it struck me that it was the absolute truth. And it helped me be determined to give up
  33. 1 point
    I've been spending $300-$400 US for the maple burls and highly figured maples tops I've been using lately. The burls have been roughly 24" in diameter and 2"+ thick and likewise the billets of figured maple have been at least 8" x 24" x2". I keep buying them, so I guess I do think they are worth it--but only from a visual impact point of view. Tone is a crap shoot. The two siblings I just finished are built nearly identically. The neck and body woods are from the same boards. The burl tops are both maple of the same thickness but different pieces of wood. One has a cocobolo fretboard and the other is macassar ebony. Hardware is identical except for the tuners. Both Gotoh, one is locking and the other is the 21:1 501 Deltas. Everything is the same pattern, but the carves are hand done so there are minor variances there. Same scale and bridges and nuts and frets. Strum them acoustically and they sound noticeably different. Plug them in and they sound noticeably different--as intended. One has a set of '59 PAFs (Klein) and the other has two P-90s and a strat single coil in the middle wound and wired like a strat. Played through the same amp at the same settings, those pickups mold the tone. SR
  34. 1 point
    It can be done. I've never smoked but my dad started at the age of 8 and quit cold turkey at his mom's funeral 57 years later in late 2001. I know several others with a 20 years smoking history, having quit without any nic substitutes and been that way for another 20 years and continuing. My wife is one of them, she paused during the pregnancies and quit when the kids were so small they can't remember her ever having smoked. She still says that sometimes cigarette smoke just smells so good. Being determined is all it takes, at least judging by the cases I know.
  35. 1 point
    This is good to know, I am planning to make my build slightly shorter scale at 25" instead of 25.4 or close to that as the plans say, instead of shifting the bridge enforcement forward, I was thinking of just making it a few mm longer to cover the area. Thanks for all the info Andy, a really useful read
  36. 1 point
    No - I'm pretty sure it will be fine. I'll find a photo, but one of the very respected builders has a much larger one still! The area so close to the X hardly flexes at all. Same reason that most of the bit forward of the soundhole also doesn't. But it also needs to be wider, because there will be two sets of staggered bridge pins and because the saddle is going to be significantly wider for the intonation. And, finally, it is going to be fitted with some K&K Pure Mini transponders, which sit under that wide saddle on the bridge plate.
  37. 1 point
    That bridge plate seems a lot larger than others I've seen. You're not worried it will over-damp the top?
  38. 1 point
    I like that string retainer! So much more 'engineered' that ferrules. Lovely job. Totally intrigued by the finishing process, too!
  39. 1 point
    I like that letter work on the headstock, @JGTay Very nicely done with that radius feeding into it.
  40. 1 point
    This is amazing. You’re not going to want to give it up.
  41. 1 point
    It’s black now. It bubbles some with the vinegar reaction, and then dries to an ugly splotchy greyish. You can see on the one pic where its still wet inside the neck pocket. Last pic is the test piece with a couple quick coats of the hardwax oil on the left and the raw on the right. Easiest finish ever.
  42. 1 point
    Oh that's a really elegant carve. Better than the ones Fender does.
  43. 1 point
    I've done that too with laptops. In the modern era we live in, a smart phone camera can also help a lot!
  44. 1 point
    Oh no its great. Im a drama queen, lol.
  45. 1 point
    Looking good, I'm drooling, Spurring me on!
  46. 1 point
    Sorry for the delay in responding. I do not work on any 3D software. I'm a bit of a cave-man in that respect. I still work on 2D, basically on CorelDraw, that is a bit of a middle ground between a CAD and an Illustrator. How I derived the templates it's a bit hard to put in words... I decided how I wanted the carve to flow across the two major sections defined by the offset shape (the lower bout at its widest and the waist at the narrowest points), and the centre-line. Then allocated the total thickness of the top to a number of equally incremental steps, and transported the intersections to the outline drawing. Finally I just joined the dots with curves that made proper sense. And that was it really.
  47. 1 point
    This all sounds a little too modern for my liking. A shot of the hard stuff and sauna.
  48. 1 point
    I'm asthmatic and if I catch a cold its terrible, and as a child I had some very miserable weeks away from school. So over the years whenever I heard things about how you get a cold I took note. Consequently I already do all these things like keeping my distance, washing face and hands etc. People think I'm anti-socialable but its just that I do not want to catch a cold under any circumstances and its my number one priority I find one of the biggest problems is food. When there's food put out for self serve people stand around talking over the it and also when people ask me if I'd like a cup of tea and some biscuits I usually decline. And another big one, when mother brings home left-over cakes and things from her theatre group events What I have adopted to guard against it is gargling with hot salty water using Cooking Salt (not table salt) If I think I have come in contact with someone with a cold I go straight home and gargle, and if I can't do that I gargle with plain cold water About a quarter of a teaspoon of cooking salt in 1/3 cup boiling water then add cold to tolerable temperature
  49. 1 point
    #1 thing is that anyone and everyone is wearing a mask. Around here, I'd say we have about 20% in masks, if that. It's ridiculous.
  50. 1 point
    I’m using those exact pickups for my 8-string build that is in process.
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