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Everything posted by KeithHowell

  1. @Scott: I strongly suggest you get your earthing checked on your house. Bad earth dangerous! I can tell you a few horror stories about bad earthing and the damage it can cause.
  2. Sounds to me like you could have a earthing problem on your mains installation. Does this only happen at one venue or everywhere? With different amplifiers or always the same one?
  3. Cant see that working either! Unless it is attached to a random orbital sander which will keep the block relatively stationary with respect to the fretboard. Scrubbing back and forward is going to always round the board to the lowest radius in contact over the area it is in contact with
  4. If the OPB3 is specifying a 50k pot for volume that's what you should use. Without a circuit diagram of the OPB3 preamp its not possible to say if a 250k will make a difference or not BUT the 50k is probably an integral part of the preamp circuit and will most likely give you all sorts of unknowns if you change it to a 5 times higher impedance.
  5. I don't think that is a bad idea at all. Sandwich the maple between two pieces of stable mahogany then resaw down the middle of the maple.
  6. The wire is either a centre tap for the secondary of the transformer or a voltage tap for a different voltage output. Very difficult to say without a circuit diagram. If its a centre tap it would be connected to ground. However if you don't understand mains wiring take it to someone who does. Messing with mains side of amplifiers can KILL you if you don't know what you are doing!!!!!!!
  7. I had my own blade made up to fit my radial arm saw. I went to my tool sharpeners who took a thin blade they had lying around about to be thrown out and ground it to the kerf width of the stewmac blade. It cost me about $10! It helps having a long standing relationship with them I suppose (and my father before me).
  8. I would still go with making a template. Making a mistake on a piece of MDF is easily rectified. Making a mistake on your precious piece of wood is another thing. You don't have to use a router but can use the template with a sanding drum provided you have or can rig up a suitable follower.
  9. It is most likely a mistake in your wiring. Without knowing the specifications of the switch you are using it is very difficult to know if the diagram and the switch illustrated correspond. Having said that these pictorial diagrams, I find, are almost impossible to trouble shoot with. Far better is a proper schematic of the circuit.
  10. Don't solder on to the back of potentiometers! It is asking for trouble! Chances are you will overheat and damage the pot or get a cold dry joint or both! Some pots have a solder tag connected to the case for this purpose. If you cant find these buy some solder tags which fit over the shaft of the pot and bolt up against the body of the pot. I don't know where this solder on the back of the pot came from. It is BAD practice. If we had of done this in our electronics training practicals we would have been failed outright! It probably came from some notorious penny pincher trying to save a few cents!
  11. Have you tried this on an Archtop/Carved top? I'm busy restoring an ES330 no name brand archtop style guitar which needs a re-veneering all round (Top,back and sides) Any Advice?
  12. I've never done a whole fret board but I have filled a few slots where in a moment of inattention a slot got cut in the wrong place. I found that using rosewood veneer and cutting slices with the grain vertical NOT across the board (ie cut your strips off the end of the veneer) ,gluing in with CA then sanding while the glue was still liquid and working the dust into the cracks made a close to invisible repair. Running the veneer with the grain running across the board shows discontinuity in the grain of the fret board. However in your case I presume you are going to re cut with the identical scale length so most of the veneer will be cut out again and the fret itself will cover the cut so you could use any wood really but matching the wood species would probably be better.
  13. Chooch Really? The only definition I could find means "idiot" "fool" "Stupid person" and the verb would mean to do something stupid!
  14. You can try asking Ken McKay at www.upnorthstrings.com he was making them and also had some tutorials on using them to build laminated archtops. Also try http://acme-archtops.com/ and http://www.pacinfo.com/~sholst/laminatedplates.htm
  15. Well here its actually raining. The sun has taken up permanent residence and has been beating down relentlessly for months with no respite. We have only seen a break over the last 10 days! Now of course with everything so dry the rain is causing havoc washing away topsoil causing potholes in roads etc. Great guitar and especially your method of gluing the bindings. We used to use a similar method when applying veneer sheets to foam cores for making radio glider wings. Have you looked at Trevor Gores neck joint method? It is a double tenon bolted in both planes.
  16. Great tutorial. However one comment: having built truss rods with 6mm Rod: They are just a bit to chunky. 5mm I find is far better using M5 taps and dies. This is comparable to using 3/16" rod and 10/32 taps and dies. 3/16 rod being only slightly thinner than 5mm (about 0.2 of a millimetre)
  17. In terms of string tension an acoustic archtop there is no exception. Acoustic archtops perform better when there is an optimum amount of down force on the arched sound board. This is directly proportional to the angle of the strings over the bridge. Given the tailpiece height at the same as the bridge the force is all in line with the strings. Lowering the tailpiece (or raising the bridge) will create a vector of the force vertically into the sound board giving the required down pressure on the top.
  18. A stretched string will, as far as I am aware, actually follow a catenary and also vibrate following a catenary which is close but not a parabola. The neck under the influence of the string (and the counter influence) of the truss rod will form a far more complex curve as it will be influenced by the density of the material (wood) at each point along the length and the cross sectional area. Wood being what it is can have varying density and a complicated integral will be necessary to calculate it all. If you are really interested I can get some formulas from a structural engineer of my acquaintance (my brother actually) and post them. Keith
  19. Have a look at: http://www.mlcswoodworking.com/shopsite_sc/store/html/smarthtml/pages/u-turn-lift.html
  20. It is really not difficult and I find it more controllable than the concave burs. My technique is: Mask the fretboard Use a felt tip pen and colour each fret along its top. Use the triangular file on each side and round the fret until you have a thin black line on the highest point of each fret. (Few strokes along each side should do it) Polish the frets using your favourite technique making sure you polish off the last of the felt tip ink and Done!
  21. Use a small triangular file. Grind off the sharp edges. Mask the fret board and do it old school. (Like before we had all these fancy tools dreamed up by Stew-Mac to empty your bank account )
  22. Running a tube amp off of a variac and turning down the voltage is NOT a good idea at all! While you are reducing the voltage on the amplifier tubes which will indeed give you lower output power you are also reducing the voltage on the tube heater supply which is usually designed to run at nominally 6.3 volts or 12.6 volts +/- 10 % depending on how the heater supply is configured. Reducing the heater supply below its lower limit will reduce your tubes life and accidentally increasing it above the upper limit will most definitely destroy the heater coil.
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