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About Andyjr1515

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    Senior Member

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  • Location
    Derby, UK
  • Interests
    Guitar and Bass playing, mods & builds; sax
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  1. Well, I, for one, am very pleased you are resurrecting it . It's magnificent
  2. We had visitors over the weekend but I was able to sneak down the cellar every hour or so to fix a couple of frets into the fretboard. By this morning, I'd done all 24 This is it loosely positioned. I usually fix the fretboard before fretting but I thought I'd try a different approach this time. There seem to be pro's and con's for both methods. I'm going to leave the top un-dotted and just have side dots. Also note the relatively modest fanning and that it is even more modest at the nut end to reduce any playing difference (although in the fan-fretted guitar I once tried it didn't feel any different to play anyway) over the first octave. Time will tell if it makes any difference to feel or sonics!
  3. Stunning stuff. Going to read all the detail when I get a moment!
  4. Really interested in this. I've always avoided scarfe joints because of this issue. Never really thought of using a chop saw but that joint you have there looks pretty damned good!
  5. I am, of course, referring to the magnet-securing tabs. I'm pleased to notice, on third reading of your binding method, the 'rugged' appearance of the pot holes and black paint further in. That makes me feel, at least a little, less inadequate
  6. Just read and re-read the detailed description of the hatch fitting, @Norris . There's some clever thinking executed very well there . I very much like the tab idea. The other thing that I admire is the combination of function and form - everywhere! For example, the inside of your chamber is as immaculate as the outside of the chamber! I'm a bit shoddy with my stuff - the outside of mine would generally look fine, but the inside would 'rugged'. Fantastic job and well worth the wait - even though I can't wait!
  7. In reviewing the progress on @Norris's epic build, I realise how close my teardrop is to Norris's very slick feature. Norris will understand the significance of me having been born and brought up in Wolverhampton if it turns out that I have subliminally stolen his design
  8. I've still got to round off the sharp edges of the 'f' hole, but this is starting to head towards the final shape. Because of the figuring you tend not to see is as much, but the curve of the top is around 1/2 of the curve at the back. Pete will use this predominately for noodling on the sofa - it has a very comfortable sitting while playing feel. It also is VERY light....hmmmm...have I forgotten something important? Top CHECK Back CHECK neck CHECK...hmmm...seems to be basically all there
  9. I'm not sure why this one is going so fast but pleased that it is The body is angled from the join point and, if I've got my calcs right and physical mock ups right, it should leave strings flat on the frets with the saddles at their lowest points. I've got the angle wrong on the last couple of builds and so have had to tweak the saddles a bit - this is why I did the belt and braces approach for this one
  10. I've decided to not to put binding on the top. With the internal routing done, it was ready for the top and sides to be glued on. First I stained the inside of the 'f'hole chamber, then glued the top, then the wings: Note that the wings are deeper than the through part of the neck. That's because I'm going to scoop the back to match the curve of a convex-curved carve to the top - hence no binding. This is where one of my favourite hand-tool acquisitions comes in - the wonderful Veritas pullshave: Then a round-over around the edges with an appropriate router bit and it's starting to look the part, albeit with a few lumps to smooth out before the finish sanding: Next job will be the smooth convex curve to the top. As always, thanks for looking and for your encouraging feedback
  11. Now THAT'S the kind of fighting talk I like
  12. Thanks, @Norris The top will be shaped with a smooth convex curve - I think that will suit the figuring nicely. Before I do that, though, I have to decide on 'do I or don't I?' for binding and, if I go ahead with some, how I want to do it: curve the top then apply an even binding (challenging) or bind it while the top is still flat but then have the binding varying in width round the curve (easier but maybe less visually attractive). I'll decide when I can see it with the top and back blocks all glued up (in progress with the glue curing as I type ) By the way, I should be able to bring this to the Basschat East Midlands bash if you're still planning on going
  13. Great minds think alike...I actually made a paper template originally to see what it looks like . And it looked rubbish . The guitar that is pitched somewhere between the bass and standard is the baritone. I can't remember what the standard tuning is of a baritone but it is pitched somewhere in that region. Ref the piccolo, the more usual arrangement is fitting of special piccolo strings to a standard bass and pitching up to the bottom 4 strings of a 6 string guitar. A few of the mainstream string manufacturers make strings for the purpose (including, I think, D'Addario). That would have been a more straightforward but much less exciting option
  14. Basically I've done all of the machining I need to do before gluing the wings and top onto the neck, excepting one thing I'm going to do next: As you can see, done is: the control chamber and cable run to it from the pickup position; the pickup cutout in the walnut top; the 'semi' chamber under the teardrop f-hole; the truss-rod slot. Final thing I have to do before anything gets glued is cut the neck plan-view shape. I'll do that once I've checked the positioning of everything...again....!