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Bizman62

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Bizman62 last won the day on July 5

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About Bizman62

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    Finland
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    Removing sawdust to reveal a guitar-ish item.
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  1. If you're worried about the conductivity in the seams, simply sand the edge of the tape with some four digit grit wet'n'dry or wirewool/plastic equivalent before gluing the overlapping tape. Wiping with vinegar or other acid might also do the trick but then you'd have to deal both with moisture and neutralizer (baking soda). You might even end up soaking the glue off the tape. If I've understood right what I've learned, as long as the overlapping stripes have several contact spots the shielding will work. That's why some builders only have a few stripes of the copper tape turn over the edge of the cavity to make contact with the copper covered plate. An airtight metal box isn't necessary, it's about building a Faraday cage which in theory could be made as a wire frame in the edges and corners of the cavity. Since the cavities are of uneven shape covering all surfaces is the quick and dirty way to solve any corner issues.
  2. Bwahahaha!!! Anyhow, that makes you easy to follow. Supposedly that's the nicest thing said about the marketing people.
  3. Valid point made. My experience with epoxy has been the 2k glue, also my experience with 2k poly is quite thin. If you've learned a good way to achieve a result you require, why fix something that is not broken.
  4. Having done the same I can share your feelings! Now you're facing the hardest part: Filing and sanding them symmetrical and to the same size and shape. One useful tool might be a sort of a template shaped to snugly fit and go through the f-hole. A piece of scrap mdf should be just fine. Your acrylic template is the perfect test piece for that f-shaped object. Or you can do like I did and go just by eye. Even there the original template and a sharp pencil can be useful for finding any irregularities.
  5. WOW! You've tremendously improved the sound quality there! I'm not saying it's perfect but it's highly usable. Do you have some automatic recording level going on? That would explain why the bangs and scratches still are at the same level with your speech. Anyhow, the tool and workbench noise now is at an acceptable level to allow concentrating on what you're saying. What I really like is that you articulate clearly and even more important, you speak slowly enough even for us non-English speakers. Jaymes at Cwimson Guitaws is a good example of the opposite awticuwation...
  6. Don't rush! Think twice the order of tasks to be done and what you're going to do next. When you think you've grasped the idea, think again. Also, don't make a to-do list for a certain day or time. For perfect results you'd have to be in the right mood for each step. If your brain is set for making a jig for routing the truss rod cavity, turning your mind into something else may be tricky.
  7. For what I know, epoxy is about the hardest wearing finish you can get on wood, harder than poly save shellac or oil. I wouldn't worry about scratching an epoxy surface with a pick.
  8. You're insane! Now I'm eagerly waiting to see how that one comes together!
  9. I thought it was about getting your voice on top of other noise. And hey, who would take some Richard Gere talking about building guitars seriously despite him being a musician and having collected hundreds of rare guitars? It's not about looks, it's about presentation.
  10. Hehe... Are you trying to find your inner YouTube character by Sherbets? Similar to Ben banging on his workbench? I can imagine you wiping the stickiness off your lips at the start of your vids! Well, anything that gets you in the mood is good. Also it might help if you don't think about your mumbling and waffling as talking to yourself. Imagine yourself being on stage in front of a live audience. If that's too big to fit in your workshop, consider the camera being a fellow to whom you're telling what you're doing. You're an artistic person so using your imagination should be a second nature.
  11. Funny how the first guy tells not to use regular glue as the moisture of the glue would cup and warp the board. Yet the second guy used regular glue on a much larger piece without visible issues. Knowing that wood glue has always been used to attach veneer even on thin pieces of wood, I'd take the first guy's argument with a grain of salt. Also, he worried about scratching the wooden board with a pick and talked about how the epoxy will seep through the pores to the surface for added strength. As he had mixed "too much" of that epoxy already, why didn't he use it on the surface as well for scratch resistancy? Wouldn't the epoxy have been as good a choice as the super glue he mentioned? As he told, the vacuum process he used actually plasticized the wood so it was not about being extremely natural anyway. Goes to show there's as many beliefs and myths there as in any detail in guitar building! As a side note, in arch top guitars like the 335 you mentioned warping can be reduced also by applying a brace underneath the pickguard. Cross laminating would be better, though, since it adds strength to the edges as well, preventing splitting caused by an accidental hit.
  12. That was a tough one! My logical thinking would say to put the longer stretch to the wider part of the body but looking at the different lines on top of each other both look good enough. As the camera angle may twist the view somewhat it's tough to tell which one looks better. Cut a pair of Acme® moveable f-holes out of black cardboard or black masking tape and attach them to the right place. Take a photo featuring all potential locations and put them side by side for evaluating.
  13. Insanity, perhaps? Just like the rest of it... Don't get me wrong, though. A one piece guitar is an awesome project but there's things that don't suit everyone. That piece of mahogany must cost a fortune and look how much of it goes into waste. Also remembering the risk of twisting and warping... Definitely not for faint hearted builders! Back to the question, I'd call that a built-in fretboard binding. For what I understand the finish on the neck doesn't affect the fretboard material choice. Simply cut the slots and glue the fingerboard into place taking care not to get too much glue squeezed into the fret slots just as you would do with any binding. It wouldn't even matter whether the fretboard is radiused or not when gluing. Also the fretting can be done either before or after applying finish. An unfretted board would be easier to mask for lacquering, but an unfinished neck would be safer for hammering the frets in just as in any build. Accuracy is the most difficult thing to achieve in such a build if you're using hand operated tools.
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