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Entry for August 2019's Guitar Of The Month is now open!


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About Setch

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    Tool Man
  • Birthday 03/14/1979

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    London U.K.
  1. It's been a long time since I've logged on or posted here, or done much in the way of instrument building (real life - what a PITA) but I wanted to draw members' attention to the current situation with Amy Hopkins, who is facing significant medical bills, following open heart surgery for a congenital heart defect. http://www.indiegogo.com/AmyHheart Amy is a long time contributer and volunteer on the MIMF, a talented lutheir and instrument repairer, and a lovely human being, who has given freely of her own time, money and extensive skill set to help those in need. Right now she could really do with recouping a little of the positive karma she is owed. Doubtless those users who are already MIMF members will have heard of this and given what they can afford to help Amy out, so apologies if this all old news to you, but if not, please consider giving as much or as little as you can afford to help Amy at a very difficult time. Every penny helps her focus on her health and recovery, instead of having to hustle to pay the bills. Contributions can be made via Indiegogo, or directly to Clint Searcy's payal account (searcysw@gmail.com) if you want to avoid the Indiegogo comission. Thanks in advance for anything you can give, and for taking the time to read this.
  2. Wes, that is looking superb - I love your treatment of the heel. That said, the gap in the top would bug me, I'd be very tempted to inlay a line of veneer to match the back, or mask and spray a pinstripe of black lacquer, which will be indistinguishable from an inlay. If you go the latter route you can always spray it after a few coats of clear, and it will be totally reversible if it doesn't work. PS: The comments about clean work are spot on - this has looked surgical throughout - good stuff!
  3. Superb work So far BD - I've been away from PG for ages,(not done much guitar work recently) but this thread has sucked me back in. The headplate looks great, I was concerned the clear would show up differences between the stained wood and the black filler, but it has popped it and unified it beautifully.
  4. Different joint, more surface area, and usually no void at the end of the tenon to allow steam to reach all faces of the joint. Also, unlike a dovetail, a straight mortice and tenon won't become loose as you pull it up, because it isn't tapered, and it will have a large, inaccessible area at the base of the joint which is glued, unlike a dovetail or mortice and tenon on an acoustic. In short, you need the fretboard off to have a decent chance of removing the neck cleanly and without damage.
  5. Frank ford shows how he made one on his Frets site. I did the same - scribing the lines into a piece of perspex with a setsquare and digital caliper, getting 0.1mm wider each graduation.
  6. Neato. I'll run a dumb terminal and a USB port to my workshop Looks like a very nice way to perform fine adjustments, but more involved to machine than I fancy. Looks like I'll stick with the quick'n'dirty adjuster when I make up my bender.
  7. I can see how the offset adjuster works to adjust the radius, but how do you adjust it? Back of the nut a little, then move it around and re-tighten? Sorry, I think that by trying to frame my question clearly, I answered it. Oops.
  8. To emply a technical term, that's a pretty sexy box! The legs popping off is definately a possibility, but so is the panel splitting because it shrinks across the grain. You may get away with it, depends how much the wood ends up moving. I wish some one like Fry or Tod would weigh in, they know far more about this stuff than I do...
  9. Honestly? I'd be tempted to finish it up and see what happens! You could try gluing the panels just at the centre of each upright, and make a lid and base which conceal the top and bottom of each panel - this way they'll be able to move a little, without creating any obvious gaps.
  10. A mortice and tenon joint may become looser if the tenon shrinks, but given the small areas involved, it's usually not a problem, especially since you still have a mechanical joint where the tenon enters the mortice. In your design, if the wood panel shrinks across the grain (and it will) it will be held by glue along it's entire edge, and the only way if can move is to split.
  11. I'm a little concerned that your sapele and maple box will self destruct - your carcass is joined using rebated uprights, with the grain oriented at right angles to the grain in the panals. As soon as you expose the box to any fluctuations in humidity, the panels will expand and contract across the grain, and either pop the uprights loose, or split. You can only use cross grain joints like that where it's possible for the wood to move, like the panels in door. DAMHIK...
  12. That's a good idea, and exactly what I did on my last guitar, with a Gotoh 510 wraparound bridge.
  13. The best way to layout a TOM is to fit your tailpiece, or through body ferrules, then sit the bridge in place and string up. You can place your saddle in the middle of the range of travel, then shuffle the bridge around until alignment and intonation are spot on for the two E strings. Mark the spot with a bradawl, and you're all set to drill for the studs.
  14. I had to hand it to Hydrogen man - his guitar grabbed me more than the others, and I'm genuinely impressed by how flawless the finish is, especially for a 1st effort. All in all a great month, with some eye popping detail work across the board, and a load of great original designs, particularly MikeV and Ben's. Good stuff people!
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