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Everything posted by ADFinlayson

  1. That inlay is looking good mate, will look fantastic once it's done.
  2. I did all the inlay work on my first 5 builds with wood, the rationale was free inlay material and no big deal if I screwed up, Ebony dust in maple inlays can be a PITA though,
  3. Yeah so I've got a few pieces that I know to be dry and way over thickness which are stacked on their sides in a cupboard. But I daren't stack wet wood on it's side - A lot of what I've bought over the last year was sold as dry but registering over 15% on my moisture meter so needs to be stickered and under weight, especially the quilt stuff I've got because that will twist and cup all over the place. I try and keep the wettest wood at the bottom of the pile so it's got the most weight on it and I'm least likely to need to get it out (I take pics in case I need to show anyone). But it's still a PITA when I need something from the middle. Not buying any more wood or tools until I've moved house. Once I'm in the new workshop, I'll insulate get some free standing shelves so I can organise everything better and not have to store it in the house.
  4. I’ve been moving this pile of wood around my office for the last year or so. I need a bigger house
  5. Welcome to the forum. I leave the saddles roughly positioned as they come then place the bridge so that the top E is on the intonation line and the bottom E is 2-3 MM passed the intonation line. Those hardtail style bridges have quite a lot of adjustment so it's hard to go wrong on intonation. I find the main thing to worry about is getting the lateral position of the bridge right. If you're building a bolt on you've got a bit of leeway because you can loosen the bolts and yank the neck over a bit to get it right, but on a set neck it's worth getting the neck glued up, place a rule along each side of the neck taper and draw a line on each side to continue the taper, then mark a centre line in the middle of the two taper lines before placing the bridge. I describe how I do it in this vid
  6. Yep, starting on it early. Started today by going through all my neck offcuts, laminating a load of pieces to make some multi lam neck blanks, then I'll dump the rest of my offcuts. Surprisingly there isn't that much crap in our house, I've sold a load of music gear recently so it's just furniture, kids stuff and a garage full. I've been wanting a tail vise and dogs on my bench for a while. Hopefully this will be a good opportunity to actually plan the new space and build a slightly more intuitive workshop as the current space is very much a version 1!
  7. I've just put my house on the market. Now starts the horrendous task of packing up the workshop, I'm not going to be doing much guitar building for a while
  8. I can't djent or polyrhythm to save my life, but then neither can Blind Guardian so that makes djenting and polyrhythming irrelevant.
  9. you only need one string to play a polyrhythm
  10. That is looking exceptional, soooo metal
  11. I'm not a fan of neck plates personally, not that I've ever built a bolt on anyway so I'm no expert but adding extra material to make the heel thicker is not logical to me in terms of comfort. A lot of builders use screws with bushes that look nice, like these: https://amzn.to/2CKRMcm if I would building a bolt on, I would go for something like that so I can do a bit of carving to make the heel a bit more comfortable
  12. In those days they had pickup winders that were started and stopped by human operatives so no two pickups would sound identical - pickups being such a large factor of an electric guitars sound. Amps have arguably even more influence on sound too, after all it's the amp and cab that's turning a signal into a sound. Totally agree with @curtisa too, it's the whole recording process that has a huge affect, mic choice and placement can make or break a recorded guitars tone too.
  13. I'll try giving the back a spray now, the braces are quartersawn and very hard maple, left over from a neck blank. The heel end just seems to look flat and it's the bottom area around the two wide braces that seems to cup the other way. I'm doing very little guitar building at the moment so leaving it in the dish for a week shouldn't be a problem. Thanks
  14. I looked mine up on line and it goes up to 25000 rpm too so I guess 17000 is the next speed down which is where I was. The result came out acceptable to me so I'm not going to complain now, I'll just get better bits than the one that came with the circle cutter. So the funniest thing happened, the the back braces were shaped to the 15' radius dish and glued to the back in the dish and the back took on the shape of the radius dish, a week or so later I find that actually the braces have now taken on the shape of the back which has cupped in the opposite direction. Any suggestions on how best to proceed? As I see it I could: A). bin the whole thing, get a new back and start again B). plane off the braces shape new braces and try my luck again C). just glue it on to the radiused sides anyway and hope the glue holds it all together None of the above are particularly appealing to me
  15. I'm not sure arguing over who has the worst government leader has any value in any conversation. Every leader has proven to be a total cretin in some way to somebody. Bojo is no exception and I voted for him. That's politics. I also don't get the constant argument against farming meat - During feb-april, emissions fell up to 26% in many parts of the world but the power was still on and the cows were still farting, cars, trains and planes on the other hand... I speak as a complete hypocrite driving a gas guzzler but then I only drive a few thousand miles a year and if everyone one drove their cars a few fewer miles each day, didn't take as many foreign holidays, emissions would fall.
  16. When I'm levelling frets, I don't use a notched straight edge - I only use a notched straight edge when I'm building the guitar and working with frets that have never been levelled. The reason for is that you want the frets to be level with each other and the fretboard itself doesn't matter. So if you're doing a bog-standard fret level on a guitar, just use your regularly trust-worthy straight edge and adjust your trussrod the the frets are as close to level (with each other) as you can get them, then do your level and you should find that you remove much less material from the frets than if you get the fretboard itself perfectly flat with a notched edge because frets are often not hammered or pushed in evenly and fretboards were not always flattened properly before frets were installed.
  17. I'm not convinced it was the cut direction because I cut in quadrants as the pic above. Could well be the bits - When I was cutting the rosette I used a couple of very fine, 0.8mm (ish) down cut bits and they cut beautifully but I managed to break them both, so I switched to the larger bit that the dremel circle cutter came with and did the rest of the rosette and the spruce with that. I may very well have tried to take too much depth in each cut, I ended up cutting 2mm deep because that circle cutter was very awkward to set depth and the set screw seemed to force the dremel off square and kept taking nicks out of the circle. I found that out when I was taking initial cuts in the centre of the cavity so got to full depth and started taking tiny parses at full depth to gradually increase the width of the cavity. The outer cut was absolutely fine, it was just that inner cut that kept tearing out. This is it after some dust and glue to fill some seams and tearout, a bit of 120 sanding to clean up the filler and wiped with some thinners. i can see a bit of discolouration where the tearout was filled that became visible with the thinners, doesn't look as bad as I thought though. For the binding channels I was planning to use the trim router and I've got the Radian rebate cutter set which has excellent quality blades, obviously I still have the same risk on the end-grain that I had here. I was planning to use a flush trim bit to route the excess to get the top and the back flush with the sides first and see how it behaves before attempting the binding cut. In terms of the dremel cutting speed, I'm not sure what speeds it works at - there is no reference to speed, just notches 1 - 5. I'm assuming 17,000rpm is as fast as it goes?
  18. The rods are an easy way of glueing down the braces that are otherwise awkward to clamp, the gobar deck has a floor and a ceiling, the gobars (rods) are wedged between the work and the ceiling to create clamping pressure, each rod creates a few pounds of pressure so the combination of lots of rods creates even pressure along the braces. I'm tempted tp try this when glueing down the top on the next solid body electric because it's a much nicer way to glue that scewing down a load of clamps. So this is the rosette finished, getting there was a pain in the arse the golden phoebe I mentioned above wasn't large enough to make a rossete (on the figured area) so I went with some walnut. I routed out a couple of circles using the dremel and circle cutter, then roughed it out on the bandsaw then I ran it through the drum sander to reveal my rosette. Then after lots of measuring I carefully place and scored around it and used the dremel to route out the area Then even after carefully routing in quadrants I had a nice fitting hole but with a shit-tone of tearout So I used a combination of maple and bog oak veneers to make some purfling strips and made the cavity slightly larger. I had to cut the walnut to get it to fit with the purfling but wedged everything in place and flooded it with fine super glue. After all the router tearout I decided to have a go with my DIY circle cutter and I'm not sure wtf happened with that because the circle just isn't circular. Trouble here is the centre pin for my circle cutter is 1/4" and the dremel circle cutter is 1/8" so I drilled the centre hole larger and the dremel was no longer an option. At this point I should have walked away, but I decided to get fast and loose withe a forstner bit, then thought "what have you done you moron" Then after sleeping on it I carefully shaped the sound hole on the bobbin sander and it seems to be successful. I need to fill a couple of gaps with walnut dust and glue, I also still have a small amount of tearout in the spruce which I hope I can fix with spruce dust and glue, I guess I need to potentially tape over the sound hole when routing or ceil with it some shellac to help prevent tearout because I don't think I could have been any more careful when routing Anyways, on to bracing the top!
  19. That has been my life for the last few months - Body clock completely shot.
  20. Thanks Andy, I will get those braces trimmed down before glueing it all together. Those sanding discs aren't included but G&W sell them too
  21. Seeing as I got a shoeing by Scotts burl beauty last month, I thought I'd enter Adrians singlecut that I was working on along side the bass build. Specs Chambered construction with PRS style f-hole, Bosnian maple top, African mahogany body and neck, Ziricote fretboard with maple binding and mop inlays. My usual Schaller Signum bridge and Sperzel trimlock tuners, bone nut (the first nut I've cut myself) PRS 85/15 pickups 1 vol, 1 tone and 2 mini toggle switches for coil splitting. The finish was done with Angelus purple and rose leather dyes, chestnut cellulose sealer, walnut grainfiller (on the mahog) and Morrells nitrocellulose clearcoat. The build thread is included as part of the billy bongo bass build
  22. So I got myself the dremel circle cutter as recommended by @Andyjr1515 which I'm looking forward to trying out. I also got myself some new bits for the dremel which should give me some options on the rosette design, I also got them as a quick and easy way to clean out/deepen bound fret slots which was something Christopher at Crimson did when I was doing a refret course there last year. I've got my kerfed linings in, still need to do a bit of sanding between them and glue clean up. You will notice a couple of small gaps - Areas where the kerfed lining didn't want to bend without breaking, I decided to pre break them prior to glueing. I can't remember if I mentioned before but I sanded the back on the 15' radius dish prior to glueing on the linings, glued the linings just proud of the side and blocks, then sanded again until everything was flush. I followed the same process with the front just with the 28' side of the dish, and I know I've become massively unfit over the last couple of years, but steering the bus on the radius dish is a serious ab workout And some context I've taken a 25mm forstner bit to the end block to make sure I can Now a small issue I have here - my plans states the width of braces B3 and B4 should be 19mm wide, but doesn't include height. I was advised that those braces are normally 14-18mm high so I went in the middle at 16mm high and 18mm wide. But they seem massive, did some more digging and it looks like old martin braces are much lower more like 8mm high so I need to carve them down a bit. I got this absolute beastie of a Record No8 on Sunday, with a few other planes from the same workshop clearance that the Bestcombi came from. Completely covered in rust as it hand't been used for years, but I scrubbed base and sides, blade and chipper with wirewool and salt and vinegar and got 99% of the rust off, gave the screws etc some oil, honed the blade and buffed it all with machine wax My god it's a good plane, jointing that spruce took 4 strokes. I know nothing about spruce, but that whiter strip on the outside of each piece, looks to me like sap wood so I decided to glue that up on the waste side. Now that the top is all glued up, I shall be having a go with the dremel circle cutter and attempting to make a rosette. I was going to go for walnut but when I was rummaging around in the offcuts, I found some of that golden pheobe leftover from Snuffy's bass, so I'm tempted to use pheobe for the rosette and inlays as a nice touch, and it has nothing to do with the fact that all my walnut offcuts are 1-2" thick and the pheobe is 4mm.
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