pan_kara

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About pan_kara

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  1. ah yes, I heard that belt sander is a pretty cool shaping tool .. I got a set of cheapo sanding drums once, mounting them in the cordless drill works pretty well for tasks like this. But really, I need a proper half-round rasp.
  2. how about scrapers for this?
  3. yea, solid gray is hiding all the wood patchwork now the vise is lined with cork from both sides - should be ok, no? EDIT: ah, you probably mean the earlier pic. True, I should have probably put something in there. I was only clamped lightly for spreading the pore filler so I didn't bother..
  4. but before becoming a beauty she has to become ugly primer, 2nd coat (after sanding back the 1st). should have done more pore filling, though the actual pores are almost gone by now. What remains is various uneven spots and some dings etc. Mostly along the roundovers. Will need some work still
  5. interesting question. I heard the "heavier gauge is better tone" story, but is there really an optimum gauge for, say, a high E? (regardless of feel). In what way does "tone" become "better". I guess some sort of an answer is hidden in comparing open high E vs the various fretted options (5th fret on B, 9th on G etc). There you have changing scale length and changing gauge and ~constant tension. I'd love to do a systematic study some time (or maybe something already exists) There are several things in play when choosing scale length, the tone and feel of the strings, plus for multiscale also the ergonomics of the amount of "fan" chosen. I don't know what people do in general, I imagine one would try to take "standard" cases as guides as in "fan from fender scale to baritone (25.5-27) for a normal/dropA 7-string" or "fan from gibson to fender for playing on 11's that would feel like 10's (I guess)" or something along those lines ...
  6. ok, so it takes me about 1 year to get to this stage in a build I love the bit with the spiral bit, moving that way myself too (not sure if I'll make new templates to use spirals exclusively for body outlines or like you run it with the smallest possible bushing to get close to final shape and then follow with normal bits) but but what is THIS???
  7. "finish" "sanded" LOL I decided to put some pore filler before I shoot the primer coats, here it is then This was then sanded off with up to P320 and I started putting some gray automotive primer on it (pics later). I already see some areas that need work, when that's all done I'll shoot white nitro primer (I hope it's all compatible) and then I'll swirl it. I also need to do the same process on a scrap piece because I'll need to test the compatibility of the magic marble paint that I'll be using for the swirl with the spraycan 2k clear that I want to put on top.
  8. Could be this one from RAD
  9. quadruple trouble
  10. well KEA my build is basically the opposite of your super-clean ones but do build more! Last week after fretting I did a quick alignment check by locating the outer bridge saddle holes and checking that the strings run parallel to the fretboard edges and that I can set intonation ok. All appears to be fine so I can continue So now the neck, heel, volute etc. So far I build almost only bolt-on guitars so I don't have the process down for carving the heel. ok, this is kind of in the direction I want it to go, but not exactly. The transition from the neck to the body starts pretty early. I took a look at my Mayones Regius to compare, and there the neck retains its profile pretty much until the cutaway actually starts. It's a slightly different thing since there only the back is rounded over, but still. This is a bit closer: I need some tools for the future, probably at least a good quality rasp. Right now its going rather slow, but I'm getting somewhere. The volute is almost done, the purpleheart/maple accenting came out pretty cool: and the heel: Now I think I'll smooth the body a bit and shoot some primer, with this blotchy mess I cant see anything. Plus the super soft pine all over the place freaks me out, I fart and it dents. Oh well.
  11. yea I think nails are not enough .. I tried staples with the "connecting bar" cut off (the stewmac trick for gluing fingerboards) on a multiscale scarf I was gluing and they had nowhere near enough power to hold the wood in place. When I have space on the sides (like in your glueup) I drill two holes with 6mm bits on the sides of the scarf and leave the bits in. That holds it fine. Or, if everything is square, I put the neck on it's side on a flat surface and clamp everything DOWN to the surface. And add some stopping blocks at the ends of the two pieces of wood that keep them from sliding in the directions they want to slide (away from the joint) but anyway, its done now
  12. wow thanks for this little tutorial. I was just researching this Doesn't the CA/sawdust mixture set up really quickly when you mix them together? Or do you put sawdust into the holes and then add a drop of superglue? (I think that's what I'd try to do)
  13. lol I had to do some variation of this on pretty much every other scarfed neck that I did. Either taking wood off the neck face, the headstock face, or gluing on a faceplate and of course the classic that you mention above (realizing that after I level everything my nut line has moved by a cm (and the headstock is now too short)) I do both typically, laminate together a straight blank and then cut the scarf in that. Best of both worlds man, that ebony board is awesome! I have 4 of this type, and I can't fit them into any build since I usually go with busy figured tops and then its just too much to have a wacky fingeboard ...
  14. been away for two weeks, but the frets are in now:
  15. hah welcome to the 23 fret club, I also made a fretboard like that by accident but decided to "fix" it (despite comments on 23 frets being perfectly fine )