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Polymaker

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About Polymaker

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  • Birthday 08/27/1992

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    Quebec
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    Crafts, Engineering, Computer Programming & Music
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  1. I've just tested it and having equal spacing at the bridge has less effect than at the nut. Since the spacing is larger at the bridge, the offset is proportionally smaller (moving a string by 1mm at the bridge is less apparent than moving by 1mm at the nut). I didn't mean to imply this, I was just saying that even if the error caused by equal-spacing is not considerable, it is still added on top of the variation produced by playing. One way of fixing the deflection when fretting a note on multiscale layouts would be to use "à la" true temperament frets:
  2. @Prostheta I'm not entirely sure I understand what you ask but I also had the impression that the errors induced by equal spacing could be compared to the variation induced by fretting, but my current view is that equal-spacing won't make you fret more precisely... So in theory you are inducing more error when using equal-spacing. It may be possible in some case that they cancel-out but I'm not sure. Using (slightly) curved fret on mild multiscale layout would greatly help intonation. But I think that even normal multiscale and up (e.g. 25"-27") are greatly affected by the variation induced by deflection from fretting whether using equal-spacing or not. Back to the difference between equal and center spacing, here is an example of a mild-extreme bass layout: The top layout uses equal-spacing at the nut, the bottom one use equal center-to-center. As you can see, the last three frets in the top layout are curved because the points are not straight enough for the tolerance used in the software. You can also see the red lines I was talking about (the lines are made up from the points generated by the 12th root of 2) In the bottom layout (equal-center) they all are centered with the frets, but in the equal-spacing you can see that there is a considerable offset.
  3. I do something similar to you. When extruding thin line to the actual fret thickness, the sides of the frets don't match the taper of the fretboard. So I used to extend all the line manually, extrude them, then trim them to the fingerboard. This is the main reason why I made the option when exporting, but while at it I made it so you can trim them shorter for those who want to do "blind" frets with a CNC. This is a thing I discovered while developing my software. In theory, straight frets are not accurate, not because of the true temperament stuff but just due to the fact that since the fretboard has a taper the strings are not perpendicular to the frets. Now in practice this is not very noticeable and can be adjusted at the bridge, but when combined with equal spacing and large gauges it displace the strings enough to make a good difference in length and it is more an issue with multiscale layouts. This made me realize that the direction you bend a string on a multiscale fretboard will drastically change the sound. Since the fret is at an angle with the string, the fretted length will change considerably when bending up or down the string. For multiscale layouts, my software tries to adjust the bridge position of each strings so all their centers are aligned at the 12th fret. This does help but do not solve all the issues. I made an option to see the accurate fret positions. It is not available by the UI but you can set it in the config file. Open the file located at "%AppData%\SiGen\AppConfig.json", find the entry named "DisplayAccuratePositions" and set it to true. It will show a red line over the frets where their correct position should be. Also in extreme cases the frets will be splines (curves) instead of straight. This is an artefact of the support for true temperament fret.
  4. Yes it is calculated. You may have missed my previous post where I explained it. Changing the tuning and physical properties in the SIL file will have effect on the generated layout. Here are the values that are used to calculate the fret compensation: The unit weights (named UW in lbs./ inch). The default values are from d'Addario data. The modulus of elasticity (named MOE in GPa). The default values are based on what I found on the internet. The core wire diameter (named CoreWireDiameter). The values are the same as the gauge for unwound strings but for wound strings I estimated the values. The action at the first and twelfth fret (both values are in a tag named Action). The tuning (tag named Tuning).
  5. You're in luck! Like I mentioned, the calculation requires a lot of variables and I haven't found yet a proper way to input them. To achieve such result at the moment you need to manually edit a saved ".sil" file (with notepad). Here is a quick how-to: Create a new blank file and save-it. The default file template has actually most of the values needed for TT. Open the created file in notepad. You will see a tag named "Temperament", set "ThidellFormula" as the value Now set the "FretCompensation" tag value to "true" The next step is required for accuracy but opening the file now will produce good enough result. For the string index "0" in the Tuning tag. add CentsOffset="-1" For the string index "1" in the Tuning tag. add CentsOffset="-1" For the string index "2" in the Tuning tag. add CentsOffset="4" For the string index "3" in the Tuning tag. add CentsOffset="2" For the string index "5" in the Tuning tag. add CentsOffset="-2" Now if you want to play around you can change the values contained inside the "Properties" tags under each strings. If you have no idea of what I'm talking about I've attached a demo file True Temperament Example.zip
  6. It is designed for Windows. On the release page you can find 32-bit (x86) and 64-bit (x64) installers (.MSI). Just download the setup and install like any other windows program. The only issue is that Windows 10 security will popup when installing, warning you that it came from internet. Just click advanced and check install anyway (or something like that I don't remember exactly). In the beginning I wanted to make this software cross-platform (for Linux and OSX) but I had trouble finding a cross-platform UI library that could do what I wanted. Documentation is also on my to-do list. There is a bunch of features and functions that are not obvious (like the preview can be zoomed and dragged with the scroll-wheel and double-clicking the scroll-wheel resets the view). I plan to make a basic wiki on the project page in the near future, but I'm currently planning my wedding so I'm a bit busy to say the least This is also parts of why I rushed to complete this project because I did not want for it to get in the pile of unfinished side projects that I have
  7. @curtisa Sorry if it was not clear, but it is based on the actual calculation. What I meant is since there is many variables (string action, modulus of elasticity, core wire diameter, desired frequency, etc) the results I get at the moment is not quite like the pictures I see (I supperpose my result over a picture of TT). I found an interesting paper that explain how to calculate the fret compensation. * I can no longer find it on the website but I managed to find it again with internetarchive and if you want to look I've put it on my google drive. I'm mostly sure that the differences I get are caused by the values I'm using because for most I've used what I could find on the internet but the paper suggest calculating them with actual strings. But since I cannot validate my result I am not able to determine if the differences comes from the inputs of if my calculation is flawed. About TT (the brand), it is actually a combination of fret compensation and compensated temperament. The fretted notes are based on the "equal" temperament but some notes are offsetted by a few cents according to the Thidell formula. The fret compensation in itself is only to compensate the string displacement when fretting a note. Like you said, it is used to get closer to equal temperament because it is what TT uses but it can be applied to any temperament. I had this in the back of my mind for a long time and made me doubt if it would be useful at all to be able to generate compensated layouts . But one way I see is to CNC a mold and cast the frets yourself. It is not easy work but should be doable and it is probably what TT does.
  8. Hi folk! I just wanted to let people know that I released a software to generate stringed instrument layouts (aka fingerboard). It is called SiGen and stands for Stringed Instrument layout Generator. I started this project a long time ago and I finally have something that is complete enough to be used by everyone. The software allows a lot of customization through simple inputs/parameters and can export layouts in DXF or SVG. I started this project originally only to have a tool that could handle both metric and imperial values at the same time, a frustration I had with a free tool on the web. But after building the base engine to generate a fretboard layout, I realized that I had an open playground to experiment and that there was a lot that could be added. Then I used this project to try to understand something that was fascinating me since I first saw it: fret compensation (aka true temperament). After many research and experiments, I managed to develop something that could produce close enough results to the pictures I found on the web. Sadly, since calculating frets compensation requires a lot of values and physical properties, the app does not allow yet a way to input all those values but the core functionality is implemented. For the moment it is required to manually edit a layout file to be able to generate a layout with fret compensation. Fully integrating this functionality is in my to-do list. You can get the latest release on GitHub here SiGen latest release If you encounter any issue with the software or have any suggestion you can open an issue on my GitHub project page (if you have an account) or PM me on project guitar. Here is a couple images showing what it can do: 5 string banjo layout Dual scale layout (aka multiscale) Fret compensation On-screen measuring
  9. This is exactly how I figured it out the pickups were inverted. That's reassuring to hear. My friend gave me the pickups after fixing a phase issue on his guitar. He upgraded his pickups a long time ago with Seymour Duncans HB and a DiMarzio SC and position 2 & 4 were not sounding good. When I did the fix I did not understand at all how it was wired. Having fixed a phase issue on my own-made T type guitar (1SC 1HB), I assumed that I needed to invert the wiring on the middle pickup, but from reading recently about coil splitting and complex wiring I had second thoughts if it was the right problem/solution. Also thank you for all the information, it is very useful and much appreciated.
  10. Hi guys, I've been given an HSH pickups set not too long ago and while I already finished designing the guitar I'll used them on, I still haven't decided on how I'm going to wire-up the pups. For this build I want to understand what I'm doing instead of blindly following a wiring diagram. Electronics has been my nemesis for a very long time and now I decided to take the time to try and understand how it works. I already learnt quite a bit while finishing my pickup winder last month (I'll make a topic on that as soon as I get my new motor, I fried-it like a rookie when trying to measure the current ). Just today I finally solved the mystery of coil-splitting. I couldn't understand how the coil that stays on was different on the neck and bridge while the wiring is the same for each. Many diagrams do not show properly that the neck humbucker is flipped (or the bridge idk) so the coils are opposed to each other. Now to get back on topic, I have two questions regarding coil split: First, how do I figure out with which coil (adjustable or slug) the middle pickup will hum-cancel. I've read that it has to do with how the pickups is wired/wound and so it can vary from one band to another, Second, this one is a thought I had that I think may be crazy or may not work at all because I couldn't find anything on the internet. Normally, from what I understand, when combining the middle pickup with a coil-split humbucker, they are wired in parallel right? Is it possible to wire them in series to make a virtual humbucker? How would it sounds like? Is this crazy? For information the pickups are from an early 2000 Ibanez S model.
  11. Wow, I love that neck! And the gold hardware is really nice too. Usually I'm not a big fan but it looks great with that ziricote. Out of personal interest, would you like to explain me how you get a finish like this with tru-oil? I've tried it on my first guitar and I couldn't get results anywhere close to yours. I'm pretty sure my application technique is the main culprit, but I had a hard time trying to get a gloss finish. Can it be buffed the same as a lacquer finish? Also I used polymerized tru-oil if it makes a difference. Thanks
  12. Wow thank you. I'm very humble by nature and I'm not the kind to brag, but I've got to admit that I'm very proud of that bass I have to say that they all have some small defects that don't really show on camera but I'm working really hard to recover from them Also if you have a keen eye you may guess that the design was very inspired by the Ibanez BTB For anyone wondering how bad the headless is, here's a picture: The truss rod is still stuck and while trying to pry-it out the neck started de-laminating. I might try to salvage the body but I'm going to start it over. On the bright side there are some advantages. First, I had some time to play with it acoustically and the fan was a little too much for me. I'm keeping the multi-scale but it will be 25.5" to 26.5" instead of 27". That scale also seems to match the angle of the slanted Seymour Duncan pickups I purchased. Also since it was my first neck carve it ended way too much thin. While at it I decided to upgrade the fretboard to bird's eye maple. Also I encountered the issue that the T4M nut's screws blocks the truss rod access so on the next one the access will be at the other end of the neck,
  13. I've said I had a bunch of good news but my last post was getting crowded so I split it. First, I've started and well advanced a 6 strings fretless bass. The neck is bubinga/maple/wenge/maple/wenge/maple/bubinga The body wings are ash Over the ash is a walnut veneer, a maple cap and a black walnut top The inlays are made with epoxy mixed with phosphorescent powder (some lines need to be redone) I also started another build, an 8 string guitar! I've only started the body and it will look like this: I've also started another electric ukulele that has an awesome neck:
  14. Hi everyone one! I'm not dead A lot has been going on recently. And I have a bunch of good news and a sad one. First of, I've finished my single cut , around the end of October... Now as to why I haven't posted yet is because I kinda finished it in a rush because I was eager to finally finish a guitar. This resulted in a nasty uneven finish, and because I didn't want to waste a fresh set of strings I waited until last week to dismantle the guitar and redo the finish. Here is the result: Now the sad news... I have broken my headless in the final steps. It was in part due because of me rushing thins a little but mainly because of one error I made in the beginning. The headless was the first I started and the truss rod channel was too wide and I forgot (due to eagerness to carve the neck) to add some tape in the channel (to secure-it) before gluing the fretboard. This obviously led to a nasty rattle. I fixed it by pouring some wood glue thinned with water in the channel, which fixed the problem in a way, but this made the truss rod hard to adjust, and the adjusting nut broke... Also just before that incident I had a little issue with sanding through the finish while buffing and had to re-apply stain a little Here a picture of the guitar before it all went south:
  15. Hi Josh, welcome to the forum! Even though beginning with a 8 strings guitar may seem like a daunting endeavor, I'm fairly sure you can manage to do it. I say that because I myself started with a 7 strings guitar (technically a 6 strings also because I started them at same time), having almost no woodworking experience at all, and now I'm in the final steps. I even threw in things like through-neck, multi-scale and headless and I managed to do it. So given the fact that you have woodworking experience and access to all the necessary tools, I'm confident you can do it Budget wise on the other hand, is where an 8 strings can be "daunting". It is no secret that an 8 strings will cost you more. To name a few, things like two more tuners, limited pickups selections (the majority of extended range pickups are made by premium brands) and other hardware can rise the cost drastically and can make you seriously reconsider making an extended range guitar as a first build. In my case, the materials for building the 7 strings guitar was well in my budget, but I had to pause the project to save for purchasing the headless hardware that is available from very few place at an high price. And now I'm lacquering the guitar but I'm still waiting & saving to purchase the pickups. I don't mean to discourage you but my point (advice) is that if you really want to build an 8 strings as your first project and also on a budget, you need to take the time to shop and plan before starting. Of course, if you don't throw-in things like multi-scale and headless like I did, you'll be able the keep the build to a reasonable cost. For the pickups, the wiring is roughly the same with any guitar, it depends on the number of pickups and volume/tone of course. One thing to note, if you don't already know, is active vs passive pickups. Active pickups need extra wiring to include a battery, For the bridge and other hardware, you can check on aliexpress. You need to shop a little because the majority of products are very cheap but you can find relatively good hardware that will do the job for a cheap price if you don't mind making some compromises. Good luck on your project
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