Bjorn.LaSanche

Great work. I love taking my 6 to this level. Only to come back the following day to small areas of flash rust. Oiling them enough to not rust leave too much oil to contaminate the wood. I read somewhere to use mineral spirits on the metal when using them as that won’t leave the type of deposits other oils will on wood. finding and acquiring old planes is a fun step back in history. Here is one of the sites I use to era date my planes with. https://virginiatoolworks.com/2015/02/16/stanley-trademark-stamps/

Just curious but did you guys set the flake after applying it? Almost everyone I’ve seen apply flake the step after is to lay the flake down with air. Apparently it’s not supposed to stand like metallic base in a candy type finish. just asking because I am prepping a guys bass to do a Murdered Candy finish on it here soon. Murdered Candy- Black base, red flake, red candy over flake to fill/depth, candy black over the red to hide the red. Finish looks black til light hits it obliquely, then the red candy/flake pops out. It’s a cool finish but hopefully it’ll look good on this bass.

Thanks for the Timbermate suggestion. Love the stuff. I’m in a quandary about the Timbermate color to choose for my current build. The wood is Padauk and Bloodwood and would like to choose a color that will make the grain pop as this will be mainly a clear only finish. Drak, are you thinking about Solarez? That’s a product I’ve been interested in trying for nothing else but it supposed UV protection.

Glad he finally stopped drinking so heavily. His melodic note choices have always been a favorite of mine.

Learn to sight read and wish I never learned how to read tablature. Come across the Nashville numbering system 30 years ago. Started my own band sooner than I did.

I’ve been researching this for the typical reasons, but I think I have found the solution. The Tone Stone. https://floydrose.com/collections/upgrades/products/frostb?variant=29837586514 also with using the routing dimensions given at the FR website I should work fine. The spring cavity appears to be 16mm deep. Pickup cavity estimating 19mm(.75”) deep leaves you with approx 4mm between the spring and pickup cavities. Not a great amount, but truss Rod cavities have less meat on the bottom of those and the back of the neck at times. Should be doable if you are careful. I’m also talking of an inset tremolo. If you’re really nervous, you can order smaller springs that have the same elastic qualities normal tremolo springs do just made from different metal and physically smaller (this is where my head is on the issue). What do you cats think? Im thinking on sort of splitting the difference and using shallower pickup cavities and smaller springs. I haven’t gone that far into the research on the springs yet but was informed by an engineer friend the spring route is a feasible work around.

I did the same thing on my V build. I wound up using strips of silk from an old tie I never wear and fiberglass resin to patch over the area. I used three layers of resin soaked silk. The first about 3/4” larger than the damaged area. With the next two overlapping the previous. Then I painted on more resin over than and when dry samded it back down level. The neck has been under tension with strings for a few months with no issue. I got the idea from a video by the GuitarDoctor off YouTube. I used silk instead of what he used as the tensile strength of silk is vastly superior to any other fabric while remaining very thin. The downside is that you have to pint over the repair to hide it.

I like the idea, but the wire on the guitar is too thin. You would need some overly long screws attaching it to the body to make it fairly stable as the wire doesn’t have the mass to hold the guitar over time (the wire will bend out of shape.). Increase the wire to around half the thickness of the clip and it’ll be solid.

I really thought I had started a build log here for this. I have had the bug for a long time and I knew that just jumping in with both feet would have resulted in something that would have turned me off completely My nature is to read read read then multiply that 100 times until I can see myself walking through the complete process flawlessly in my head This way, if things go awry, I’ll already understand how to solve the error so having to ask questions in a last ditch effort. That isn’t to say this was a flawless build I had some difficulties and the final product isn’t perfect one big problem was the result of an issue I had with the plans I had posted about before, and another was the way I set the neck angle Another annoying but had to live with it was the use of Katalox for the headstock face Let’s say I’ll never use that wood again Otherwise it was a very enjoyable build using non-standard wood which turned out super stable and thinking I have a great economical alternative to typical woods used to build guitars. I am not 100% complete, but am at the punch list stage if you understand the terminology. Essentially what’s left are minor cosmetic details. I’ve posted the three most recent photos, ill post build photos once I can sort them into their own folder on my end for ease of acquisition.

Due to a measurement inaccuracy on my part, I’m going to have to recess the bridge into the face of the body. I am worried about height adjustment if the thumb wheels wind up being lower than the body face. I was thinking about notching the wheel edges if they do have to be lower than the body face. I would notch the wheels so I could use a snap ring plier to turn the wheels. Does anyone have a different solution? If I have to route that much I’m wanting to keep the routing as tight as possible. So I’m not going to route area to stuff my fingers to move the height wheels. At that point it’s easier to reset the neck. Which might be the best course of action. I’ve already painted the guitar but the lacquer is t that expensive to be cost prohibitive. It’s just something I’m not confident in doing without destroying the neck and body.

Cocobolo isn't used as much due I believe to it's oil content. It is a Rosewood though it doesn't take glue well, but Systemthree G-2 is a long work time epoxy that would get you around that if you're wanting to use this wood

upon reflection, I was getting the spray pattern control and liquid amount control backwards. This resulted in exactly your thought of paint going on too dry. I bring this up as I did it again the other day testing a different media. I think I'm going to have to put a piece of tape with a note on the cup for a while. Using a hvlp gun sure beats rattle cans any day. If nothing else but straight up comfort. I have to wait another week or two for final sand and buffing as I tried last week, but I would get to a certain point and I could feel the finish move in a few areas under the sandpaper. I stopped and doesn't appear to have done anything horrible. I ll just focus on other aspects of the build I still need to finalize. I have to remake the pick guard as It is too narrow in the control area.

Thanks for the tips and yes, you’re right. The lacquer was starting to dry before it hit the surface. I’m still somewhat dialing in the gun. I’ve increased the air pressure about 10 psi at the gun and reduced the spread some so it is rounder now. It’s allowing me to lay down a wet pass now. It was one of those Aha moments. I’m used to spraying with a standard HVLP turbine system when I was doing apartment maintenance for a living. Using a compressor and hvlp gun is a little different as it has more controls to it. I also wasn’t shooting lacquer thank you for the tips regarding the temperature. I’ve already run into having to deal with blushing as the final coat I applied Friday night blushed bad. Luckily the Mohawk distributor is open Saturdays and is five minutes from my house. I picked a can of their No Blush with Retarder and sprayed a light coat over the areas and then pushing was gone in five minutes. Have to say I am hooked on this line of product. I have had no difficulties with it at all. The vinyl sanding sealer is inexpensive and way easy to work with, the metallic base is comparable to auto metallic base that runs $125/qt., the lacquer is really clean and almost doesn’t need strained. Woodcraft sells the lacquer normally for $23/qt. The distributor can get me gallons at $36 per but I have to buy a case at a time(4). Otherwise it’s $50/gal. The last item I need to try is the aerosol lacquer which I’ll need as I still have to finishing to do on the headstock face. ha I’m already itch to start my next build. Same model, different wood and will not make the errors I did last time. again, thank you Bizman62 and I did t mention it above but I wet sanded with 600 to knock down the main sharp points showing through. And once I wasn’t getting resistance moving the sand paper with 600 I cleaned the guitar off and ran another sanding session using 800. I always use a block except for edges. For those I fold the paper enough so it acts as it’s own block on a shape like this I’ll origami the paper into a 1” x 4”rectangle I bend in half and run it single direction applying only enough pressure at any time with finishes to move the paper. That goes for dry sanding too. Learned a long time ago sandpaper is designed to cut using only enough pressure to keep the paper on the surface and moving. It works against the paper to apply pressure more Than that.

I’m at the tail end of my clear coating. I probably have enough lacquer for maybe 4 more coats. I know when shooting metallics you bury the particles in your tone and clear coats. The thing is I am seeming to be growing particles. The photo is the best I was able to take as they are hard to see unless right there. It’s the little sharp points in the photo. It isn’t dust caught in the lacquer as I wipe wipe a tack cloth before each coat. If you look at them one direction they look like bad acne, look from a different direction they’re gone. ive read many threads online of people lightly sanding to knock stuff like this down before the final wet coats. Thing is, is this a wet or dry sand and what grit sand paper, and would you even suggest it? I just don’t want to run out of lacquer and someone say you should have sanded those flat before your final coats type deal. First photo is what I’m talking about. Next photo just showing off

These guys are my go to source for most items for my projects. Luthiers Mercantile doesn’t carry a lot of electric build items and are good for acoustics. Stew Mac, well some of their finish stuff is ok in a pinch. If you want your wallet raped on old harbor freight quality tools, yet have to pay Lie Nelson prices because it says Stewart MacDonald? I’ll pass. Go to Philadelphia Luthier Supply, it’s a smaller business that sells quality supplies. Their nut blanks are seriously choice. They carry Jescar feet wire for less than the other above mentioned shops. If they don’t carry something. Tell them what you’re looking for and they will get the stuff. The only thing they don’t carry is finishing supplies, They also answer emails in a timely manner. The other two places do not.