ScottR Posted September 19, 2013 Report Share Posted September 19, 2013 I like the burst Louis, and I love the little fox head that showed up. SR Quote Link to comment Share on other sites More sharing options...
guitar2005 Posted September 19, 2013 Report Share Posted September 19, 2013 Its not quite in the middle of the neck. Its only 4" below the nut. When you use thicker neck blanks, the lower down teh neck the scarf will be. Yes, I see and understand that. I'm just curious as to why there's that white piece of wood there. Quote Link to comment Share on other sites More sharing options...
killemall8 Posted September 19, 2013 Author Report Share Posted September 19, 2013 Its not quite in the middle of the neck. Its only 4" below the nut. When you use thicker neck blanks, the lower down teh neck the scarf will be. Yes, I see and understand that. I'm just curious as to why there's that white piece of wood there. It is a highlight piece of flamed maple. A lot of people do that. Quote Link to comment Share on other sites More sharing options...
Prostheta Posted September 19, 2013 Report Share Posted September 19, 2013 Its not quite in the middle of the neck. Its only 4" below the nut. When you use thicker neck blanks, the lower down teh neck the scarf will be. True. I thickness my "recovery piece" down to about 20mm (or whatever will cover the volute) in order to bring the scarf towards the nut. I feel that locating them where neck deflection under tension is lowest is more beneficial. Quote Link to comment Share on other sites More sharing options...
killemall8 Posted September 19, 2013 Author Report Share Posted September 19, 2013 That is exactly what i used to do. I would thickness the headstock piece to the desired headstock thickness. But then it wouldnt cover the volute. So i just started leaving it full thickness. dyed black: Quote Link to comment Share on other sites More sharing options...
jessejames Posted September 19, 2013 Report Share Posted September 19, 2013 Wow, really love that black border on the burl, REALLY sets it off nice. Quote Link to comment Share on other sites More sharing options...
Prostheta Posted September 20, 2013 Report Share Posted September 20, 2013 That is exactly what i used to do. I would thickness the headstock piece to the desired headstock thickness. But then it wouldnt cover the volute. So i just started leaving it full thickness. I meant that I thickness the pieces just enough to fill out a volute rather than just headstock thickness. For example, on the Flying V I am working on the neck blank thickness is 40mm however I dropped that down to 30mm for the volute which leaves the scarf around the middle of the third fret. Going for the full 40mm would have left it way back somewhere around sixth. Ultimately it is personal preference I guess. I really love this Explorer design to death. Really really cool. Quote Link to comment Share on other sites More sharing options...
supplebanana Posted September 20, 2013 Report Share Posted September 20, 2013 Ken Lawrence? Who's Ken Lawrence? He can keep his headstock! Fox? looks more like a mean bad Wolf to me... http://www.youtube.com/watch?v=guTTGJ_PK2Q Quote Link to comment Share on other sites More sharing options...
crazygtr Posted September 21, 2013 Report Share Posted September 21, 2013 I see a pitbull in there. Quote Link to comment Share on other sites More sharing options...
killemall8 Posted September 22, 2013 Author Report Share Posted September 22, 2013 I see a pitbull in there. It sees you too. I got it sprayed with clear yesterday. Came out quite lovely. It is very hard to take pictures of though. It reflects glare no matter what with clear on it. Quote Link to comment Share on other sites More sharing options...
SwedishLuthier Posted September 22, 2013 Report Share Posted September 22, 2013 Its not quite in the middle of the neck. Its only 4" below the nut. When you use thicker neck blanks, the lower down teh neck the scarf will be. Yes, I see and understand that. I'm just curious as to why there's that white piece of wood there. What it also does is to hide any imperfections when aligning a laminated neck (not to say that KEA need that). It's not going to hide if you are way off, but if there are a tiny bit of slippage during glueing it will show up very nicely (NOT nicely...) when doing laminated necks. A thin contrasting piece hides that and also is very decorative on its own. Quote Link to comment Share on other sites More sharing options...
killemall8 Posted September 22, 2013 Author Report Share Posted September 22, 2013 That is a huge Plus of it, SL. Even if i didnt want it for looks, i would still use it to break up the glue line. It is really hard to line up that many laminates. Quote Link to comment Share on other sites More sharing options...
Prostheta Posted September 22, 2013 Report Share Posted September 22, 2013 I have to say Peter, that if people are having problems with their scarfs slipping during glueup and clamping then a problem exists in the technique. My personal preference is to drill holes through the parts that will end up being cut away and tapping tacks through to ensure better locating and stop the parts sliding under clamping pressure. Most of the time the headstock pieces are the same width as the neck components so a clamp either side of the join removes side-to-side play. This gets me within half a mm or so which could itself be improved if that damn squeezeout didn't obscure everything! My largest concern about placing a scarf beyond the thicker parts of a neck profile (ie. the volute or headstock transition) is the reason we scarf necks in the first place - short grain. Theoretically a non-scarfed 14mm thick 13° angled headstock has about 66mm of short grain and is generally considered to be weak, although not as weak as 17° which leaves 48mm! The corollary is true for the neck also. Placing the scarf further back than the volute exposes short grain angled in the same direction as the headstock; around 64mm and 49mm for both the 13° and 17° examples quoted where the thickness of the scarfed piece is 30mm. Pulling this joint back to where the neck transitions smoothly to the headstock (Ibanez for example) adds up to another 10mm of length to that grain. A full volute does not reduce the length of this short grain but does reduce the amount of it that is exposed. I guess you could extend this out to the benefits of scarfing over and under, how the fingerboard increases the stability, etc. What it comes down to however is mitigating weaknesses in the wood. Whilst you might not see problems with your necks in the short term, decapitations or seasonal scarf joint humping that happen to necks will definitely happen there. Hopefully this comes across constructively and well-reasoned as opposed to being directly critical, which it is not. The aesthetics of laminations mid-neck are fantastic however they inadvertantly re-introduce the exact same issues they are attempting to solve. Quote Link to comment Share on other sites More sharing options...
SwedishLuthier Posted September 22, 2013 Report Share Posted September 22, 2013 I get what you say. However when doing necks like this: less than 1/4 of a millimeter is visible (the graphite in this pic is 0.5 mm thick IIRC), as evident on this picture of one of my early guitars. I have used wooden dowels, screws and glass fiber reinforced tape and still had that tiny bit of slip that ruins a neck and you have to saw the joint open as heat and moister is no option as it will delaminate the neck... One difference between the angled grain in the neck, compared to the angled grain in the head is that you (usually) have a considerably thicker fretboard acting as a reinforcement compared to any reinforcements you have on a head cut the "gibson style" (usually a very flexible thin fibre material only on the front side of the head). Quote Link to comment Share on other sites More sharing options...
guitar2005 Posted September 23, 2013 Report Share Posted September 23, 2013 Its not quite in the middle of the neck. Its only 4" below the nut. When you use thicker neck blanks, the lower down teh neck the scarf will be. Yes, I see and understand that. I'm just curious as to why there's that white piece of wood there. What it also does is to hide any imperfections when aligning a laminated neck (not to say that KEA need that). It's not going to hide if you are way off, but if there are a tiny bit of slippage during glueing it will show up very nicely (NOT nicely...) when doing laminated necks. A thin contrasting piece hides that and also is very decorative on its own. Yeah, that's what I figured. Getting those pieces perfectly lined up is time consuming and once the glue is on, it can become stressfull. Quote Link to comment Share on other sites More sharing options...
Mr Natural Posted September 24, 2013 Report Share Posted September 24, 2013 And one more updated picture You know-I would have never thought of bursting a piece like that. That is what I love about this forum- opens your eyes up outside the boxes in your (my)own brain.You pulled it off wonderfully. Great job man. I think If you have made that burst thicker it wouldnt have pulled it off quite the same (imho) its subtle enough to accent the piece and yet not take away from the figure like so many bursts sometimes do. Great job dude. seriously- that top is sick. Really nice score on that wood. Quote Link to comment Share on other sites More sharing options...
Prostheta Posted September 24, 2013 Report Share Posted September 24, 2013 That's a really nice tight edge burst too. Enough to add differentiation but without overwhelming the feature top wood. How're you finding painting now Luis? Is everything falling into place, because it certainly looks that way. Quote Link to comment Share on other sites More sharing options...
killemall8 Posted September 24, 2013 Author Report Share Posted September 24, 2013 Thanks guys. Sometimes it just takes something subtle like that to set it off. Pros, Bursts and stuff like that have always been extremely easy for me to do. It was always a little strange to me that people had a hard time with them. Painting isnt the problem. Its always the preparation of hte primer and sealer related. Quote Link to comment Share on other sites More sharing options...
Prostheta Posted September 24, 2013 Report Share Posted September 24, 2013 Well, I can't say that I have tried a spray burst. I'm going off the difficulties and nightmares other people seem to have. They certainly wouldn't discourage me from doing one, but other people seem to have all kinds of problems! I was thinking about the primer/sealer thing, yes. Did I mention about primer being hygroscopic when you were having all of those issues? It would makes sense as to why water screwed (no joke intended) everything up around the screwholes. Kind of funny because I noted to my wife how I hate seeing people driving cars around with half-finished paintwork sitting in primer. If leaving them around before paint weren't bad enough, taking them out into WEATHER is ridiculous. Quote Link to comment Share on other sites More sharing options...
killemall8 Posted September 24, 2013 Author Report Share Posted September 24, 2013 Yes, you had mentioned that. I have done many paintjobs in my building career, even when i was less experienced, and they all came out pretty nice. I Just dont get why I am having so many problems these days. I think a lot of it has to do with the primer i am using. It doesnt seem to spray as nicely as the kind i used before. The primered one is still sitting on the couch for now. Maybe one day it will get another chance. Quote Link to comment Share on other sites More sharing options...
killemall8 Posted September 25, 2013 Author Report Share Posted September 25, 2013 Picked up some more mahogany yesterday. Also glued up a new neck blank. I am loving this combination. Quote Link to comment Share on other sites More sharing options...
killemall8 Posted September 27, 2013 Author Report Share Posted September 27, 2013 The black one is getting there. Waiting for the last of the parts to get here. Quote Link to comment Share on other sites More sharing options...
bob123 Posted September 27, 2013 Report Share Posted September 27, 2013 Ooh I love that black ash look!! Looks killer! Quote Link to comment Share on other sites More sharing options...
Menapia Posted September 28, 2013 Report Share Posted September 28, 2013 Ya that's beautiful man ,but that burl is just amazing.....I've a soft spot for burl . Great work very clean looking forward to seeing them finished . Quote Link to comment Share on other sites More sharing options...
killemall8 Posted October 1, 2013 Author Report Share Posted October 1, 2013 Got it pretty much finished up today. Man... I think this is my favorite guitar I have ever made. It is just so beasty. And sounds absolutely amazing. The color in the pics is a little off because the sun was already setting. Picture it the color of the last pics i posted, but finished Quote Link to comment Share on other sites More sharing options...
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