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  3. well... it just struck me when I saw it... was thinking "well I bet that would take a looooong time"!
  4. Three quarters of a year gone and you're the first one to notice that! Unfortunately I can't edit that post any longer. But you're right, nut slotting is what the feeler gauge set is for.
  5. above... first post... you say "Fret slotting files can be very expensive. Mine cost about €5 (yes, it's a feeler gauge"... I think you mean nut slotting... and if not I would very much like to see how the hell that works!! some great ideas in this thread from all. I imagine this to be a solid resource to others so... here's small contribution: for shooting they make these been bag rests... it's the perfect neck rest! $7.99 and best of all - zero effort!! https://www.amazon.com/Shooting-Support-SandBag-Holders-Photography/dp/B07WDW92WQ sanding beam - well another option is a machined level. generally $20 from hardware store and decent precision... I still use for lower grits. That said - I've found an actual precision bar is very much worth it here for the final leveling - ymmv.
  6. so... little late to the party so forgive if it's been addressed... but at 1 1/4" that's going to be rough afa clearance. I think a 5 - way switch might just sneak in there but a tremolo is usually going to require 1 1/2" minimum unless you get something really low profile like used in the sabre series. ok, that out of the way... jem - cool. is on my bucketlist to build a jem. have a 77fp. one of the best guitars I've ever played, and easily one of the best sounding guitars ever. best neck finish: well... best for feel in my experience is tru oil. just feels like a raw neck despite offering pretty good protection. best for sealing/stability - probably poly. necks that are well sealed tend to fluctuate less with the humidity and for some this is a huge thing... others a small thing. decal - have an inkjet or laser printer? get some clear waterslide decal stock. You can whip up the logo of your choice, print it, spray a few light coats of clear acrylic on it... and slide it on just like a model airplane. if you want to get fancy... you could print it out reverse, paint in some details with gold paint marker, add clear add very light clear, flip it and slide on. or... you can try your hand at screen printing. you can get screen/ink from many art stores as well as paper you can print, apply chemicals... and parts that aren't printed will dissolve. stick to screen... and you can squeegee on a logo. lots of options anyway. body finish - well same as neck... tru oil is just the best for a raw feel imo. osmo poly x raw is another I've learned from folks here that is just great.
  7. ITS DONE Finally had the time to get to the workshop and get the last bits together. It came out really nice.
  8. Many people prefer an oiled neck over a lacquered one. Shiny lacquer can feel sticky when your palms sweat. One trick is to make a shiny neck matte with 1000 grit wet'n'dry or steel wool for a similar feel but oiled and waxed is still slicker. Again, oil. TruOil and the likes work fine, they all are a mix of oil, turpentine and lacquer so they when applied several times you'll eventually fill the pores for a mirror finish. But you can stop at any stage when you think the look and feel are what you like. Oil finishing is a wipe on method and there's a couple of things to know. The main rule is to rub the oil in vigorously until it becomes tacky, then wipe it all off with a clean towel. After some 10 minutes some more oil will sweat out and you'll have to wipe that off as well. Oil on the surface will never dry! Let dry and repeat the next day. The first layer or three take the most oil until the wood is saturated, the following coats are for pore filling. After a few coats you can even use fine steel wool, nylon abrasive or wet'n'dry sandpaper with the oil to create a slurry to faster fill the pores, then go back to plain oil. Finally you can buff the surface for a more or less satin sheen. If you level all the pores and grain you can even buff it to a gloss. But as I understood you'd rather get a bit more organic surface, more like "it's shiny but there doesn't seem to be anything on the wood".
  9. That's true. There's ways to go around that although 2 mm is even on the thicker side. I just took a look of trapezoid MOP inlay pieces, the widest was 43 mm across the fretboard and only 1.5 mm thick. I suppose your inlays are about 15 mm long/wide across the radius? No matter what, I did the math with a 12" (300 mm) radius at the widest end of the fretboard. As a 4 string bass fretboard is 40 to 60 mm wide, half of the max width is 30 mm. Thus Y (being in this case the "quarter line") would be 0.375 mm at the most and 0.3 mm at the least. Since your inlays are narrower than half of the fretboard you'd have to put about 0.1 mm more glue at either end of the inlay pieces to fill the gap in a radius bottom cavity. That's the approximate thickness of a human hair.
  10. Absolutely fantastic Dave, and moreso given the very short building window this one was created within! Normally I'm not a fan of wood knobs and switch tips, however they seem to carry their own weight with balance. I like that. re: Epoxy pore filling. Do you heat your components prior to application? This is the simplest way to encourage epoxy into filling surface features. Heating the wood with a hair dryer or taking it to a warm area like sauna works wonders. Heating the epoxy is generally good for reducing viscosity in pouring, however it will soon lose that heat to the environment and the workpiece, especially when the thermal mass is reduced via spreading. Both can be used in combination of course, as the epoxy will lose less heat to a pre-heated workpiece. The second-best option is thinning the epoxy with 5-10% of solvent such as "paint thinner" or acetone. I wouldn't recommend this since it's unpredictable how this will affect the epoxy over the short and long term, ie. curing issues, discolouration or other defects.
  11. ALRIGHT. It's been a minute, but I've finally acquired all the things I need (or at least most of them, to start working on the body). I've got a router incoming today with bits, and I'm going build a jig/sled so I can use the router to plane the pieces to the right thickness to combine. A few questions: What would be best to finish the neck with? It's a maple neck from Warmoth I'd like to put a decal on the headstock, what kind of paint would be best for applying that before finishing? What would be best to use to finish the body to keep the "unfinished wood" feel once I sand it down? The only other thing is that the templates I got are for 6 string parts (neck pocket and humbucker templates), so I'll have to mark out the correct sizes and slide them around a bit when using the router.
  12. @Bizman62 but the margin for error when making the inlay cavities is almost zero. If I make (carve? excavate?) these cavities after the fret board is radiused the cavity will have a radiused bottom. I mean using my dremel mount…
  13. So, that was all the bits and pieces made. All that was left was to apply finish and screw them all together. I say ‘all ‘. Finishing is my ‘bête noire’. I always seem to have problems. I pore-fill with Z-poxy Finishing Resin which is fine. It’s easy to sand. I even gave the maple top a coat because, although it’s not supposed to need it, it really ‘pops’ the figure. But I always seem to find that, even after two or three applications, when I start to apply whatever finish, unfilled pores start showing up. I’ve had success with Tru Oil in the past but sometimes find it dries too fast and in the wiping off picks up tiny fibres. So this time I used Liberon Finishing Oil which seemed OK on the back, but again I found little specks on the front. So I sanded it off the front and applied a few coats of Osmo Polyx. Although this went on and wiped off fine, I still had smear marks so, in the wiping off, I started wiping so vigorously that I seemed to be polishing it. In fact, for a satin finish, it looked quite shiny, so I stopped. I don’t recommend this finishing procedure! Anyway, I finally got all the bits screwed together and this is what it looks like. There’s some colour variation in the photos. They were taken in indirect daylight and the sun kept going in and out, which didn’t help and this maple seems to change colour depending on the angle from which you look at it. Without the bridge cover. Showing the discrete arm bevel and the bridge cover. It looked OK on the drawing, it’s the same width as the pickup rings but in reality it’s rather intrusive, even though I modified it by making it sloping. The pickup rings with black screws. The pickups come with chrome screws (which I dislike) so I mounted them from the back. Full frontal. Should have put the bridge cover on as it might have looked OK in this view. Too late now. Back view. I lke battery boxes. No hassle or risk of damaging the wiring if the battery needs changing. Body/neck junction. This probably doesn’t make the instrument any nicer to play, but I find it more aesthetically pleasing. I’m sure Fender could do something similar if they wished. After all, they’re made by robots these days, but perhaps the purists would be up in arms if they got rid of that big, clunky square block. I know they’ve introduced what they call a ‘sculpted heel’ on some models which, I imagine, is no more ergonomic then mine. YMMV. A closer view of the arm bevel. And one of the clunky bridge cover. Knobs and switch and jack socket. Headstock front. (I really should have straightened that string tree.) And the back. If you have been, thanks for watching.
  14. Last week
  15. The Annapolitan Elephant Built in my laundry room/shop, its my third build overall -- and the first bass attempt. Full 34" scale length with a Musicman style pickup. Since I'm a novice and still figuring out the basics I used mostly generic/non-name hardware and spent most of the budget on more tools. Despite the "affordable" parts I think it sounds great, surprisingly bright. The body & headstock shapes are my own design, refined from my "Teetotaler" guitar design. The overall specs match pretty closely with a modern Fender P-bass - my interests are more in aesthetic design and the woodworking rather than trying to trail-blaze new, ground-breaking specs. No chance of me stumbling on that anyway. Ash body, maple neck and fingerboard, with walnut inlays. Body is stained using Rit Golden-yellow dye and finished with Minwax polycrylic clear gloss. The neck and fretboard are finished with TruOil. The build thread is here: Thanks for checking it out!
  16. No, I sold most of them to my builder buddies and kept only two. But I do have four different grits on the narrow sides. The broad sides aren't level and having two different grits meet at the corner could cause issues. It's always safer to run a smooth face against something you don't want to scratch or shape.
  17. Great tips guys,thanks a lot! That's what I did
  18. Do you actually use 12 beams? I imagine it could be handy having different grits ready on several beams, but I'm curious if that's the case
  19. You're right, I did ask! Very comprehensive answer as well, and I sort of suspected you'd have a bit of a background in that general field. Your solutions seem either engineered, or literally the simplest tool for the task with a thorough understanding of why it will work. "As simple as possible, but no simpler" I believe the phrase goes. I do think that many desktop workers (myself included) lose a vital sense of scale from not working concepts in the real world first. For me, that's something I spend a lot of time with in CAD, exploring how light interacts with objects....especially for home furnishings and other items. Single planes bore me, but in my professional work they bring the money in. I grew up in an area that used to have that old idea of a "job for life" just by virtue of where you were born (fishing industry), plus the tail end of what we'd consider real apprenticeships. That doesn't exist any more, and I don't believe the deep core knowledges and abilities can be learnt only by dipping one's toes in. I do what I do both for work and for enjoyment, my hope being that by playing both sides of the game I can continue elevating what I do. There's always more to learn and master, and then learn you never really mastered it, just "became more consistent"
  20. Stories, meat behind the builds, mixing and matching what you've learned and done at work to guitar building...
  21. Thank you Prostheta for your very generous remarks. I served an apprenticeship in mechanical engineering (when that sort of thing still existed) learning what a lathe, a milling machine, a surface grinder, etc, was, in the apprentice training school, and then spending 6 months in every department on the shop floor until I finished in the drawing office as a design draughtsman. Looking back, I was very lucky to start out there. It was a firm where everything was done in-house. Machine shop, sheet metal shop, forge, foundry, pattern shop, toolroom, everything. I then went to work as draughtsman for an Industrial Designer called David Mellor (CBE, FCSD,RDI) https://www.davidmellordesign.com/david-mellor-key-designs where, in the tiny workshop occupied by 3 silversmiths, there was also a lathe, a milling machine and a surface grinder, as well as a woodworking bench, a circular saw, a bandsaw and a planer-thicknesser. The boss worked as a freelance consultant for various people and we made models (usually full-size) of most of his designs. We had great fun (to the consternation of the locals) setting up a half-barrier crossing with traffic lights on a disused railway line and flooding his lawn with a full size model of a fountain for the botanic gardens in Cambridge. After 20 years I left (the work was great but the boss was a PITA) and moved to France (cherchez la femme) where I was lucky enough to get a job (again as a design draughtsman) in a small firm in Bordeaux. At first on the drawing board, paper and pencil, then 2D Autocad and in the end 3D Pro Engineer. I retired at 65 and for the last 14 years I’ve amused myself making music (think of a sort of French barn dance band) and instruments for myself, one or two friends, and family. Sorry to go on at such length, but you did ask!
  22. I am jealous, that phat blade encased in resin looks awesome,
  23. You can use something else to drive in side dots? I used this one Note to self, don't drink two of those beers before tapping in the dots Great to hear from you John, that is a coincidence, I am going over to your post now to check it out. I love Ibenhad, and I am intrigued wondering what an orange squeezer / TS hybrid sounds like
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