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Everything posted by Prostheta

  1. A great application of toothed irons. The last thing you want when working to the last few mm of stock is tearout.
  2. Ah well, if you're familiar with French polishing techniques and can dedicate the time and effect, then you can sack off brushing! That's my personal feeling about this. As mentioned, some people are just gods on the brush but that doesn't easily translate to actually doing it....the standards are good to see being demo'ed, but unless they're taught step by step....yeah....cue expectation/reality meme.
  3. Doublecuts are always stressful when you start removing the tenon within the pickup cavity....
  4. @Andyjr1515 is a master with hand-rubbed lacquer/varnish finishes with the minimum of equipment and fuss. I'd defer to him on this one since I tend to shy away from lacquer at the moment. I can however get behind shellac. That is a zen sort of finish if you're hand rubbing.
  5. It looks like glue, yes. it shouldn't be difficult to spot sand and repair.
  6. This is not an option.
  7. Hahahaha! Always good to see that one can't help it. Hey, you ever burnt your fingers scraping....?
  8. Pornographic.
  9. That all depends on how you wipe it off. If you go with the grain, you are more likely to pull the slurry out from the pores. Going against it is better. The same applies when ragging off pore filler. @KempGuitars - a satin finish is preferred in my book also. Gloss is slow and tacky. I know we won't tend to contact the board as much as the back of the neck, but it still happens.
  10. ....a slightly shrunken pore fill achieves the look I like...which doesn't answer your question.
  11. Phew. It feels like far too long since I've done a proper project thread. Mostly this is because I tend to save project work for tutorials and article content....anyway. As we progress through this build, various aspects will no doubt form the basis for various external tutorials, etc. We'll bring it all together anyway. So. The basis behind this build is a Khaya EB-0 body I'd cut a couple of years ago, and a Les Paul neck blank. I measured the two up and there's a few discrepancies that mean they can't be used to create any kind of faithful "dyed in the wool" SG. The neck will be about 1/2" closer to the body than normal, but that's about it. The objective is to make a simple SG Jr. style guitar for Nina, however with a single humbucker instead of a P-90. The bridge will most likely be an ABM wraparound bridge with the headstock kitted out with Kluson vintage keystone tuners. Not fully decided whether to inlay the fingerboard yet, however split trapezoids seem to be attractive to me at this stage. Unlike a Jr, the fingerboard will be bound, so you could more or less say this is a Big Jr? The TNT name is no small reference to the fact that Nina is an AC/DC fan....
  12. I haven't, however I know a lot of people who have. It isn't a million miles away from Timbermate (which I bought this in place of) or even watered-down wood filler. I experimented with Osmo's wood filler, watered down to a thin cream consistency, and found that it isn't any different to a dedicated pore filler. Just expensive, but simple and convenient. Reading the MSDS of various dedicated products (esp. Timbermate) and alternatives shows that many ingredients are common, so you can infer broad similarity. Oil-based might be the one I'd try as being less likely to shrink back if I wanted that, unless they too have a high solvent ratio. These evaporate and reduce the mass causing shrinkage. With high solids comes higher surface tension which makes it difficult to work into pores. Several rounds of pore filling is the best way to go in my book. I've never been one to fight against what the wood wants to do, so glassy mirror finishes are not something I've ever aimed for. I love "living" wood finishes that patinate and age gracefully.
  13. maple

    Much of this publication was based on a legacy article from many years ago, and could well benefit from an update with a wider scope. On the to-do list.
  14. maple

    Thanks for the input Perry - I'll remove the photo and reference since it's inaccurate information.
  15. Regardless of this derailing, I think your own Tru-Oil technique is down pat if that Wengé is anything to go by.
  16. You're welcome, and sharing always helps refine techniques and knowledge. Like I mentioned, I think that the Osmo Poly-X is more difficult to build up into a thicker film like Tru-Oil, but its even more foolproof if there is such a thing. For repairs, it just needs a quick sanding or scuffing and new oil bonds and blends with old like a charm. I do think that the feel of a wax/oil product is key. Some feel tacky and "slow", especially the glossier ones. Scuffing them helps, but seems a little like a backwards step. Satin is definitely more of a looker for a fingerboard. I have this on stock right now and I think it should be ideal (little damp with water):
  17. I felt motivated to sand up a scrap of Maple up to 400 grit and apply some of the Osmo silk finish oil to see how it protects it and what kind of look it imparts. If this is attractive enough, I might be tempted to make the multiscale Tele for the season one build an oiled Maple board.... Those tins are about €15-16 here, so maybe £13? For 125ml I can't remember how that stacks up against Tru-Oil, however I suspect it is broadly similar for the small amounts we use on instruments. 2,5l (we go through a lot of this at work) is about €94. About thirty minutes or so later I wiped the excess off. This can be left to dry as-is if needs be. It's a hot day today in Finland so it's setting up a lot faster than usual. I was lazy with the end grain.
  18. Three really sweet entries this month. However anybody feels about the end results is irrelevant in light of the work that went into each of them.... @Mr Natural Your build thread (over the course of what....almost four years?) has been a great one that popped up when a little work was done and whole thing moved forward. I love the end result. It looks extremely smart in black, combined with the reflectivity complimenting the shape. There's so much going on there such as the Hipshot D-style bridge (personal favourite) that would make me want to pick it up. Just....fretless....haha @Andyjr1515 Again, like Natch your threads are a pleasure Andy. Your capability is matched evenly by your humble approach and willingness to share with others. Everything that drives PG. The bass is a hell of a weird shape, but maximises the use of the Camphor burl and gives it a lot of real estate to shine. A capped neck-through is no small kind of build to tackle....hats off! (I don't own a hat as such though, so just imagine) @Edw5493 I've become a big fan of single-pickup instruments over the last few years, and started to become more curious about single-pickup guitars with the pup in the neck position. She looks like she'd be a great jazzer, was that the intention? It reminds me of @ScottR's style of build, or at least something I could imagine Scott making....however the volute would be a giveaway. Bonus points for enchiladas, however the answer was quesadillas! Love the headstock shape. The curves on the very end are really sweet and makes an otherwise simple offset 3x3 very characterful. ---- I'd be equally-happy spending a few hours test-driving each of this month's entries. Between the three on that basis, they're all level-pegging. Natch has got my vote however, simply because I love large slightly wacky organic basses....especially Carl Thompson's. Jens' designs are not always my kind of thing, however he always demonstrates balance, flow and movement in his work. Being able to step up and produce something like his Jupiter is extremely easy to get very very wrong, and you didn't. The end result justifies that four year build time. The only negative I could add is the lack of frets, your house alarm code and times that you're spending a few hours sampling beers. Please leave some Jai Alai in the fridge.
  19. This is the matte oil straight onto Sapele at 320 grit. Flooded, distributed and then wiped off within the hour. Done. This is not how Osmo recommend the oil's usage though, however since it's a flooring finish we don't have the luxury of gravity and simple flat surfaces to work with. The oil is very happy being given multiple additional wipes and being left to dry. Very very natural and raw feeling, but enough protection to take it out of that "unprotected raw wood" bracket. I'm tempted to see how it would fare on a Maple fingerboard also. As mentioned, really fast feeling and perfect for the back of a neck.
  20. This is my sample board for the finish. Several applications of a custom-mixed Tikkurila alcohol-borne stain (75% DC22 and 25% 720R I think) with French polishing over the top. The wood was sanded to 320 grit and given a single black Brummer grain fill. A few more applications of filler would get rid of the pores entirely instead of highlighting them, and we're undecided on whether to go for smooth or slightly textured. Both are nice. The chatoyance and bloom in daylight are astonishing as you'd expect from French polishing.
  21. It's quite different to Tru-Oil, as that builds up a surface finish. It's a lot easier to maintain though. Do some tests. It prefers lower-grit sanding (150-180 rec.) However they also have an extra thin version for exotics which are sanded higher. Finer-finished surfaces can be more difficult to wet and it has a reasonable surface tension.
  22. Definitely so. I've always gone into oil finishes with the objective of providing a sealing base, hence the flooding. Hit the porous areas with as much oil as they'll take and then let it polymerise and lock up the surface. I don't use Tru-Oil myself these days. I prefer raw oils, but have been using Osmo PolyX a lot ("öljyvaha" here). #3032 satin and #3062 matte are fantastic on raw woods, and are super easy to use. I've decided that the 5-string build for season one will be an oil finish using those. They blend really nicely to transition finishes between the body and neck. A little more expensive than Tru-Oil by volume, but not (as) flammable on rags (I hope everybody is wetting them and leaving rags outside flat!) and even friendlier. It doesn't amber out as anywhere near as much's more like safflower than flax seed in colour.
  23. That's exactly it, and I agree that the huge number of personal methods described out in the wild serve mostly to muddy the waters. I think an overall methodology of what to aim for and what not to do is probably better than some "one single way". Simple oil and wax finishes seldom have one way anyway. My own method differs in the initial flood coat, which you don't wipe off. I do. However, I watch the oil for an hour or two on the initial flood to see which areas are still sucking up the oil, and squeegee or apply some around that area. After that couple of hours, I wipe everything off until the surface of the wood is lightly oily-feeling and not wet. That's left to dry as it will, with an inspection every few hours to check for oil leaking out from anywhere, and to give it a quick wipe. Then comes a wet sand with oil to raise a slurry if needs be, and subsequently just light wipes to build a sheen. I don't think it's easy to go wrong with Tru-Oil. All apart from trying to work it when it gets gummy, or letting it corn out your sandpaper like you've been getting, @Mr Natural. That sanded debris needs to go somewhere, and it likes to stick to itself, so it corns up. The same happens removing wax (I do this at work when making transparent two-stage wax finishes, a bit like a sandback....kills your abrasives) or if you need to sand shellac.
  24. Wow, same source for that Ziricote?!
  25. 20" is probably most practical. Fingerboard height would be calculated from the bridge and how the neck meets the body. It could be flat, or maybe a degree or so.