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Everything posted by Andyjr1515

  1. Interesting video. Decent looking result as well.
  2. Always enthralled by your carvings. It is sculpture more than it is carving.
  3. I'm seeing Matt on Tuesday to give him a 'first fitting' of the neck profile and to firm up the amplification options. Then I will be able to glue the back on Clearly, until that's on, I can't do the bottom binding and finish off the tailstock, so the walnut and two vertical binding strips here are loose. but gives a decent idea of where I'm heading. The walnut centre-piece matches the rosette and headstock plate: The walnut isn't actually bookmatched - that's a pencil line you can see in the photo - but I was able to find some very symmetrical figuring in the sheet offcut.
  4. Actually, tar-swallow is a decent description
  5. Thanks @mistermikev No - it's a standard size for a square shouldered dread. The heel is a bit short which makes it look a touch deeper than it actually is and the headstock is smaller than some which maybe why it looks bigger than it is.
  6. A few hours of judicious scraping, floss-sanding and checking got me where I should have been: And still straight: Couple of swifts: And then the neck carve. I carve necks holding the instrument a bit like a back to front cello. Here's my kit: The templates were taken from Matt's favourite acoustic. Bit of work with the spokeshave, just to take the bulk away but most of the work is done with a card scraper: ...and in a surprisingly short time we're getting close: I'll finish with a sanding block but, always time for a quick mock-up
  7. Sounds like you are doing well so far weight-wise. I'm a great fan of taking weight out of guitars and basses and yes - body thickness (or lack thereof) is a great way of getting there
  8. I didn't detail that in the thread, but I compensated for that in my angle calcs ...but maybe that is where an error crept in...you know me and maths...
  9. The other thing that's a bit of a pig is the binding. I hate with a vengeance routing the channels for the purfling and binding for the top and backs of acoustics. It's a real, real challenge with a spheroidal top and back when the channel needs to be square, and 100th of an inch accurate. Stewmac (or maybe it's LMI) sell a fancy jig that a Colt Router can fit on but it is prohibitively pricey. I use the little Stewmac jig that fits to a Dremel but it's not very successful and can easily gouge up to 0.5mm wrong in most directions. So there is a LOT of remedial chiselling to get me anywhere near fit for purpose routs. This is one of the best areas. Most of it wasn't like this: But a thing I used to hate MORE than routing the channels was gluing timber binding! I've tried all the recommended methods - glass reinforced tape; bicycle inner-tubes stretched round; torn strips of bedsheets torniquet'd to close the gaps while it's gluing. And trust me. They are all rubbish. Certainly the way I do them What I particularly detest, is that in all cases, you can't actually see if the fit is OK for all of the tape, rubber and fabric so you have to wait until next day, then unwrap and you KNOW there are going to be gaps!!!! And then, after few disappointing builds, I had a brainwave. Why don't I do it the same way as I veneer - that is, iron it on? And I think I'm still the only person in the world who does this. I'm sure there are many, many reasons why it's not supposed to work - but it certainly works for me Let me stress - doing veneering this way is a fairly normal method. It's using the same technique for binding that is an Andyjr1515 quirk Kit is this. I use a small modelling iron for ease - household iron works fine: Principle is : paint decent quality PVA wood glue to both surfaces; let it dry; iron it on; the PVA melts and merges, but then quickly solidifies as soon as the heat goes off; and that's it! Great thing is that you can position it before ironing (because the glue is dry); you can position as you iron it (because the veneer or binding 'floats' on the molten glue); you can see immediately if it is OK; it is fully repeatable - if you see a gap when you're finished, you just heat it up again, reposition and let it cool. You can see above the PVA drying on the purfling strip. The routed channel is also glued. Takes about 30 mins for both to dry. Then iron on to melt the glue and press the binding into the channel - and hold in position while it cools (using a duster or cloth so you don't burn yourself on the hot wood): I do a couple of inches at a time. For purfling, it takes seconds to heat up and 15-20 secs to cool enough to fully grab. And that's it!!! For the purfling, including sanding it flush (which you can do immediately) this took me 30 minutes or so. The binding was done much the same way. I'm using Rocklite Ebanol - much easier to bend than ebony. Binding does need pre-bending, whichever way you glue it: Same MO but, because it's thicker and wider, it takes a little longer to heat (15-20 secs for each length of 1-2 inches) and needs to be held longer to cool enough to fully grab (30 - 50 secs): And if you see any gaps as you're going round: Just heat it up again and reposition. You can do this as many times as you like - it's fully repeatable. In fact that's what I do as a norm. I go round first, seating it as best as I can but concentrating on getting the side bond and the shape. Then I go round a second time, again a couple of inches at a time, this time just seating it down properly - it can't lose its shape because the glue is still solid either side. And this is the result: And trust me, I, personally, can't get anywhere near as good a result with any of the other conventional methods. I'm sure it's a highly flawed method, but it works for me Drop me a line if any of you want to try it too and I can explain in a bit more detail how I go about it. The main thing to stress is that the channel and the binding must both have a good layer of glue on for it to work, and it must be a decent quality wood glue PVA - school glue isn't strong enough. If you do try or trial it (always recommended first in any case) I'd love to know how you get on.
  10. A few more jobs done, although a touch of "two steps forward, one step back". Got the inserts fitted and the fretboard glued: Bolted it up and was pleased with the neck to body fit: And then could do a much more representative check of alignment and neck angle. Fingers crossed because it's a bit of a pig to adjust without introducing gaps in the joint once the fretboard's fixed: Ah... Poo... The straight edge is supposed to be just level with the top of the bridge. Neck angle needs reducing a bit. You know that I said it would be a bit of a pig? Oh well...
  11. I can't be certain, @ScottR, but I think the site automatically reduces the sizes of the downloaded photos. Certainly, the ones I tend to load up are originally much bigger than they save as in the drag and drop facility. Maybe @curtisa can confirm? Mind you, Andrew's reaction might be, "So THAT'S why we keep running out of server space. B****y Andyjr1515!!!! It had to be him!!!!"
  12. If you are happy with cheap and cheerful ones like I use, they are no problem to make. If you're tempted, I say 'go for it!'
  13. That's a hell of a way of cleaning the gaps in your teeth you have there in Tasmania, @curtisa !
  14. The next bit it the scary bit. Using the same jig, I take off the hinged neck board and that leaves the modified workmate jaws, lined with cork. And that, my friends, is all that is going to hold the body, suspended over the cellar floor (plus a few cushions) while I route the mortice First check was had I got the angle right. With the neck in place, I aim for a straight edge to JUST sit at the top of the bridge. The saddle will then provide the required action height: Then a check for side to side alignment. Before final fit, I relieved the timber nearest the tenon. Without doing this, it is nigh impossible to get a great fit with the body: Then a bit of judicial flossing: ...and frets installed, and fretboard trimmed to length, we are getting close to being able to glue the board and sort the fixings. Always time for a quick mock-up, though
  15. And so to the neck and fretboard. Because everything is pretty much fixed on an acoustic (saddle-heights, intonation, etc) I generally look for a logical sequence I need to go through to make sure the angles and heights are right. Basically, radius the fretboard and prepare the bridge fit which allows me to work out the neck angle which lets me prepare the tenon. So radiusing the fretboard was first on the list. Matt wants a 16" radius, so that would mean making a couple more radius ends on my home-designed radius jig: Now - while I've been relatively happy with this, it isn't perfect and when I made it, the G&W rig wasn't available. And I've been very, very tempted. So I bit the bullet: A bit pricey with the extra radius options included (I got the 10" and 12" ones) but, honestly, one of the best purchases I've ever made relating to guitar tools. I am delighted with it. 15 minutes (max) on the jig, 15 minutes final sanding with a block and I had this: With hand sanding, that would have - including the necessary rest periods - probably taken me a couple of days...and would have been on a slant!!!! Next job was a couple of swifts at the 12th: And then I could work out my neck angle: I use a cheap and nasty jig, made from an old B&D Workmate, but based on one of O'Brien's excellent videos, and a G&W template: The neck is located on a hinged ply board with a knob and threaded rod arrangement for me to be able to tilt it at pretty accurate radial adjustment. Here's the board disassembled. You can see the two protruding bolts that locate in the truss-rod slot: So the neck clamps on like this: And this gave me a fairly accurate tenon ready for final fit:
  16. Yes - for this type, with the flat back and without internal fixing/magnet protrusions, that's what I would use too: Depth is clearly very accurate to whatever you want and then choose an appropriate sized bearing to determine the width of rebate you want. Clearly, if it's a carved back, or if the inner shape is different to the outer shape, then you can't use this - then a template and trimmer bit is probably the best way to go.
  17. This is probably covered earlier or in another of your threads, @ScottR , but how and when do you calculate your neck angle? Do you do it solely with drawing, or do you mock up for verification? Or maybe even just thickness the top to end up with the right result? I sometimes use all three methods - draw, but then verify with a mock up....and then correct both of those by having to 'adjust' the top
  18. What do you see as the advantage of Titebond 3 for those particular jobs?
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