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pshupe

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pshupe last won the day on January 25

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About pshupe

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  • Birthday May 15

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  • Location
    Hamilton, ON. Canada
  • Interests
    3D modeling - CNC machining - making saw dust
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  1. That looks really uncomfortable to play? You might want to consider a belly and arm carve. LOL Cheers Peter.
  2. I didn't see a thread about this here yet? If there is already one here please bump and the mods can delete this one. But here goes. This is what is on my workbench. A new batch of stainless steel fret slotting and inlay, and head stock templates. A bunch of common ones and a couple of one offs . Cheers Peter.
  3. I've duplicated that first post. Can a moderator delete that post? Thanks. Cheers Peter.
  4. Sorry for the formatting I just cut and pasted from another forum. Please let me know if this is too annoying and I will delete and redo it. Is there a way to change the background colour? I tried changing the font to dark but it keeps the background as dark? Cheers Peter.
  5. So a friend of mine got his hands on a really nice plank of Brazilian rosewood and I have been tasked to take this one board and get as many fret boards as I can out of it. The board is 75" long, by 5" wide and 3/4" thick. Looks like I shoould be able to get 16 boards total out of this piece if it is quite straight and flat. So I figured the best way was to cut it into 4 equal lengths, and cutting the oversized outlines, and jointing and then re-sawing. Let's see how that works out. So here is one of the 1/4s of the board. I marked out a nest set of boards and will cut on the band saw. Here are the nested layout. Looks pretty good. I should have enough all around. I figured I'd joint each side as I will be re-sawing down the middle so the jointed faces will be the under sides of the fret boards. If I can re-saw them thick enough I might joint the other side depending on visual appeal. After jointing both sides they were still quite thick. Shouldn't have a problem re-sawing. I marked a center line and setup the band saw to, hopefully, cut right in half. Worked out well and they were more than thick enough. They look kind of cool book matched. Throw it through the thickness sander to take them down close to finish thickness. The CNC machine will thickness them perfectly. I shot a little video and sped it up about 20X - CLICK HERE FOR CRAZY FAST VIDEO I've actually now cut 8 boards and might be doing another 8. These are spectacular boards. Hopefully I can get some for myself. ?? They are actually a nice chocolate brown colour. Cheers Peter.
  6. Sorry for not responding to this post. I have a friend that has a boat load of Korina and even the exotic wood places have it priced quite reasonably in comparison to Honduran Mahogany and other exotics. Regarding the acetone wipe. I have done this on a few builds normally with rosewood fret boards. It seems to not affect the inlay much other than it melts it slightly into the pocket. It fills slight gaps and shines up the inlay a bit as well. But on the Ziricote it really took the brownish hue out of the wood and stained the inlay a golden colour, which after the fact I really liked. It was a little shocking in first light though. Regards Peter,
  7. Thank you. Despite the quick nature of the postings here it has been a long build and I am very happy with the results. Except for a few little things. Some that I can change and others I cannot. I am not happy with the Lyre Maestro vibrolo I purchased. I'm not sure if it is just a cheap knock off or it is the way that all of these time of vibrolos work. My bridge is intentionally quite low, which is the way I like it on my guitars. The spring on the vibrolo is quite high and there isn't much break angle. I am a fan of Derek Trucks and have seen his signature SG with a stop tail being added instead of the spring vibrolo. He kept the frame and stainless cover and I will be doing the same with this build. So I have to drill into a freshly buffed guitar. Wish me luck! I marked out where I wanted the tailpiece to go and dismantled my tremolo leaving the frame and cover just like DT. Then placed some painters tape across where the tailpiece will sit and then meticulously measured the center to center and marked with a sharp pencil and then used an awl to mark the hole locations. I will use a relatively new brad point drill bit. I want to make sure I do not chip the finish as I drill. The brad point works well for this but I also "burnished" the tape down to the finish well also. The holes drilled well without chipping and I used a large counter sink to chamfer the edges so the finish doesn't crack when I press in the bushings. I also drilled a 1/8" diameter hole from the stud hole into the control cavity for the ground wire. I used my drill press and an upside down large diameter drill bit to press in the bushings after adding the ground wire. The pressed in easily and may consider a smaller diameter hole next time. The white limba is a pretty softwood and I am used to pressing into hard maple, so that could be the difference. All strung up and ready to rock. That wasn't that hard. I still have to take some glamour shots but I like the look and it will definitely function a lot better now. Cheers Peter.
  8. So It's all wired up and functioning. This is usually the time where I wish I didn't spend so much time building because my practicing suffers. Here is what it looks like with it all setup. I still have to finish my back cover plate but other than that I'll call this one done. Cheers Peter.
  9. Thank you. This was one thing I struggled with when I first started. I forget who explained it to me but once explained it was a bit of an epiphany, which hopefully I can pass along. Another important tip is if you find you have wet sanded and there are only a few shiny spots and they look deep. The best thing is to drop fill them. If you try to sand out a couple of really deep spots chances are you will sand through. I also use a yellow coloured terry cloth when wet sanding and wipe off quickly. If you see any colour on the cloth stop immediately. Most times the colour is quite thin but it could save you sanding through and having to redo the finish. Cheers Peter.
  10. Thanks. I am actually just finishing this build off. I'll try and get some "glamour shots" up at some point. Cheers Peter.
  11. On to wet sanding. I've done this a few times now and I think I have the concept down quite well. My first couple of attempts didn't go well so I will describe my process. I hope this is helpful to some newbies as I struggled with the concept but have pretty much got an idiot proof workflow now, which I need! So the basic concept is that the guitar before wet sanding and buffing is very shiny but not flat. In order to get a mirror like finish your surface has to be flat. Here is an image of what the finish looks like before wet sanding and then about half way through our first grit. I started wet sanding with 400 grit. This is quite aggresive and makes quick work of the level sanding process but you have to be really careful because you do not want to sand all the way through the finish. I have done that in the past and if you sand through the colour it's almost impossible to touch up and you have to start over. Not good! I knew I had a fairly flat finish to start so I wasn't too concerned about sanding through but was careful anyway. Here is the back mostly level sanded with one of the wings not done yet. You can see how it is shiny but bumpy. The matte side is flat but not shiny because I flattened it with 400 grit paper which puts tiny scratches in the finish and makes it look cloudy or matte. You basically sand until you cannot see any shiny spots left. then I finish up wet sanding and move up a grit. Here is the back finished to 400 When I finish a grit I make sure the scratches all run one direction. Then when I move up a grit I sand 90 degrees to that direction and when I cannot see anymore of the old scratches I know I am done and can move up another grit again rotating to 90 degrees. Here is a pic with the 400 scratches - You can see they mostly run 90 degrees to the bottom edge of the picture. and here I am done with 600 grit - I do not see any of the 400 grit scratches and can see finer scratches parallel to the bottom edge of the picture. The finish also looks shinier. I move up through the grits from 400 - 600 - 800 - 1000 - 1200 - 1500 - 2000 then I am ready to go to the buffer. Here is my final wet sanding finished. You can see it is quite shiny and I know it is completely flat. Then on to the buffer, which makes the finish pop - and there we have a fully buffed, flat, and shiny guitar - I also do one final step which is to go into the areas where the buffer could not reach with a polishing compound. I use Mequiars #9. I use a cotton terry cloth by hand and it seems to work well. If you do not have a buffer you can use buffing wheel attachments for a hand drill. Cheers Peter.
  12. Ok - So I drilled all the holes and setup the guitar with all the hardware, so I can make sure everything fits before finishing. I have sanded to 320 grit and it's ready to spray. I want to do a very thin black burst as I think this will look good on this guitar. I've pore filled with timbermate ebony and ready to go into the both. I sprayed a couple of sealer coats of nitro lacquer and then the burst. There is no binding to scrape so I can go straight to clear coats. So I sprayed over 3 days and probably did about 12 coats total. In between days I wet sanded to reduce the orange peel. This is the first time I have done this schedule but I think it works really well. Here is what it looks like after my final clear coats. I am very happy with the results and will wait a couple weeks before I wet sand and buff. So I can move onto fret work. Mask the board and use a flat beam to level the frets. diamond fret file and sharpie to crown and basic dress then on to the nut. Went with bleached bone. Set up again and purchased some new fret slotting files. cut the slots to depth after initial shaping My neck is a little wider than normal because I added binding and overhung the frets, so I notched the saddles as the tailpiece string spacings was a little thinner than what I wanted to go through the bridge. So all set up and ready for wet sanding. Cheers Peter.
  13. So tuner holes now. I drilled 1/16" holes to locate the centers of the tuner holes in my veneer. I laid out the tuners in CAD prior to drilling. I work by myself in a very small shop, which isn't necessarily a bad thing. I have to come up with unique ways of holding things when only I only have two hands to work with. I propped up the guitar so the back of the head stock was completely flat with my drill press table and drilled with a brad point bit. I have most of the bushing reamers Stew Mac sells so just had to find what worked for my Kluson banjo tuners. I CNC'd the neck to about the first fret and used the paper template I made for the tuners to mark the transition from head stock to neck carve and used files and rasps to get a nice crisp shape. finished up - I also did a quick mock up of all the hardware. I bought a knock-off Maestro Lyre tremolo and had a couple vintage ABR-1 bridges in my box of goodies. I also had a guy at the other forum wind me some custom mini-humbuckers. Cheers Peter.
  14. Back on the CNC machine and cut the pup cavities - and gluing on the fret board. I went with Hot Hide Glue, which is a big PITA when working by yourself in a cool work environment. I had to make sure I had everything all setup and within quick reach. It worked out OK but it's stressfull trying to work so fast. I was slow the first try and the glue gelled up very quick. I turned the heat up in the shop and got out the heat gun and the second try was a success. Cheers Peter.
  15. Thanks. Yeah I'm liking the Ziricote. I bought a big chunk and re-sawed 8 boards from it. They ended up being as cheap as EI Rosewood. I think it goes well with the black limba and white limba. Cheers Peter.
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