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Prostheta last won the day on February 12

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About Prostheta

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    "Looks just like a Telefunken U-47"
  • Birthday 07/18/1976

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    Pori, Finland
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  1. Prostheta

    Opinions on Design Direction

    As a rule I never use black. The pigment is coarse and gets blotchy. Nothing wrong with using tobacco brown as a substitute when popping figure. Once you get colour over it, the quality of differentiation is a mile better than black. Bit late in the game, I know. Still, it looks great! Can't deny results when you get them.
  2. Prostheta

    Chris G Crazy Art Teleish Build

    I'll add my own take on this from two standpoints; marking out and cutting. I mark out angles using a simpler and more reliable method; trigonometry. If you know the position of the neck to body break and the length from that point to the rear of the blank, you can calculate how far "down" the back of the blank a specific angle will emerge. Mostly this is ATO, or adjacent * tan(angle) = opposite. Marking out between those two points is far more precise than trying to do it from an acute angle. My method of cutting things like this come from one of three options, with some overlap depending on mood and tool availability. I don't like the work of cleaning up the non-flat wandering edge that a bandsaw leaves, however for most that is the most available tool. It can be planed by hand afterwards, but it becomes a bit of a chore tuning it into a flat plane that corresponds to the desired angle, with scrubbing here and there. Not my thing. Another one I like is to use a jointer. I've described this previously, and it's a bit dangerous if you're using a small jointer or don't have the experience to do it safely. If that's the case, leave it be. This method is to increase the cut depth to half the total drop of the acute angle. You joint into the waste halfway, which is the most dangerous part....withdrawing or lifting the workpiece can be tricky. The blank is then reversed and the cut depth reduced slightly; the blank rides tipped upwards on the two edges left, creating a plane parallel to the cut line. For example, if the distance from the blank surface to the point where the angle drops at the back is 8mm and the point where the neck meets the body to the rear of the blank is 500mm, set the jointer for exactly 4mm of cut (yes, it's a lot hence large sharp jointers only please!) and plane into the blank till the cutter just meets the blank surface at 250mm. Reduce the cut slightly (say 3,5mm) and run the blank the other direction (remember that this is into the grain, so again, sharp jointers and safety need to apply at all points) riding on those two edges to create a flat plane. The cut still needs to be large so that the cutter starts to take material from the blank, and that point end up on the outfeed table before the leading edge is removed. Only acute angles work here. The second method is the table saw, the most common large sliding compound cabinet saws only have a maximum cut of 100mm or 4", so wider neck through tenons won't work here. The blank needs to be perfectly squared up. I mount the blank on it's side on the table saw's compound with the headstock end against the compound fence, and a stop used as an incremental adjustment reference to fine tune the cut. The fingerboard plane faces the blade and the blank is angled in so that the cut introduces itself from the neck break through to the rear of the neck/body. That means the waste falling the "other" side of the blade. A t-track on the compound or some other clamping is essential to hold the blank square and securely. The compound stop helps with this also. Two clamps are always better than one, but one very secure and stable clamp normally suffices. If the saw doesn't have scribed marks to help with alignment, take measurements between the blank and the compound to get a rough idea, tap the blank around and take many cuts up to your desired point. With care this can be left finished off the tool. Lastly, just plane the material off. It's the most work and requires the most technique I think. Removing as much waste as possible first always helps, especially with establishing a rough starting plane. I'd say that your best tools will be the initial marking out and your eye during any process.
  3. Prostheta

    The Black Queen

    Master luthiers mass debating over the properties of hide glue made from horses fed Pringles on Wednesdays facing West whilst listening to Nina Simone through Russian tubes. That kind of thing. I mean sure, differentiation is nice however it shouldn't be a vague addendum to a wider industries established (and relied upon) standards. It's almost like the imperial system being "vintage correct".
  4. Prostheta

    The Black Queen

    There's many international standards formally establishing the appearance and grading of hardwoods and softwoods, and these vary internationally of course, with a fair amount of fragmentation. For the most part they all work in the same direction. The whole "greater than A grade" thing is artificial; created entirely to buoy an isolated market where talk, marketing and made-up terms scupper the basic sense and reliance of standards. In spite of being the Swedish standard on softwoods, this illustrates the meaning of grading pretty nicely. https://www.swedishwood.com/about_wood/choosing-wood/wood-grades/ Anyway. Rant over!
  5. Prostheta

    The Black Queen

    Nope. https://www.carpathiantonewood.com/shop/ 5A is not a thing. Wood is graded up to 3A, based on the number of allowable faults by length. 4A and 5A were pulled out of the arse to market wood that is desirable, implying that somehow lesser designations means poorer wood. I'd seen "5A" Maple that is poorly cut, seasoned and selected which a good knowledgeable sawyer would grade 3A....and still blow it out of the water. Take it with a pinch of salt is all PRS collate such amazing wood that a designation like 4A/5A might be worthwhile however it subverts the reasoning of wood grading in the first place by adding cosmetic/aesthetic terms which aren't part and parcel of (and not useful to) the board lumber grading process. So-called 5A wood should simply be called 3A fancy or "exhibition". Ironically, many of the figuring we find attractive in woods can be classed as faults under some circumstances....! If there's one thing that I hate, it's the marketing wankateers stealing and subverting language and undermining established terms from wider standards. Like Komodo says; talk to the people closer to the source. Middleman talk up lesser grades and add their own pound of flesh.
  6. Prostheta

    Misc Stuff about Life. Part XII

    It's those tight jeans and disco dance moves that've fucked you up man.
  7. Prostheta

    Misc Stuff about Life. Part XII

    Isn't that more like infusing as opposed to maturation?
  8. Prostheta

    BEER! What's in your fridge?

    Oh hell yes. Not even the same game.
  9. Once you get her cleared and waxed, she'll be super shiny.
  10. Blue's a funny colour for a lot of reasons. For one, wood is rarely white and more often than not has a yellow tone to it. Daylight and artificial light monkey with it a lot also. That's a fine blue you have there though. I imagine that the chatoyance of the wood has been pretty much flattened out by the amount of pigment in there....that's blue and black for you though! I love the slightly left of centre design on this one....it suggests Gretsch, Hagstrom to my eye. Four singles is a bold statement.
  11. Prostheta

    The Black Queen

    I think I'm going to shoot for something like an ABM 2400c-RO: https://abm-guitarpartsshop.com/ABM-GUITAR-PARTS/Tuneomatic-Stoptail/Roller-Bridges/ABM-2400c-RO-Chrome::146.html Even though their lead times are huge, mine are hyoogerer.
  12. Prostheta

    First neck-thru

    Nicely repaired though. Definitely take more care with power tools since you can't replace fingertips with epoxy. Well, you CAN however....
  13. Prostheta

    The Black Queen

    G&W actually! I should probably consider getting the bridge also, as it's part of the package I guess.
  14. Prostheta

    The Black Queen

    Ello ello ello. What's all this then? My plan for the Firebird RS is to fit an Oak block through the neck tenon, pre-fitted with deep 5mm threaded inserts. That way when I rout the top cavity for the trem itself, I can bolt the knife-edge plate up. The whole "Oak block" isn't an effort towards correctness as per the RS, however in this instance the opportunity affords itself, so why not? The only thing that I'm dreading is how to adjust the spring preloading bolts. The original RS has two long holes from the rear of the body either side of the strap button through to the trem cavity....