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High End Build - this one is gonna take a while


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13 minutes ago, Prostheta said:

Again, I'm probably preaching to the converted here however it really does help to spend time tuning the blade, getting the wheels balanced and coplanar and aligning the bearings. Setup setup setup.

Here's a beast for you.

https://www.weinig.com/en/solid-wood/band-resaws/variosplit-900/variosplit-900.html

Now THAT is a resawing machine, even if it is on the side of line automation. Those can automatically throw out clean 3mm splits with no issues at all.

I agree 100%. Bandsaws are ridiculously versatile, but this comes at a price. They are fiddly beasts who can be quite temperamental at times. Wifey tells me I am much the same. ;) I did the initial setup already. The fine-tuning won't happen until I get it onto the mobile base. Yes, fully stationary is best. In my shop, it just isn't a possibility. We do the best with what we have.

And who among us could afford that type of saw! Some of us are gunshy at the price of higher end pickups and tuners. That thing is just in fantasy land.

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  • 3 weeks later...

First actual work on this thing since April 10!

First is to the end cap flush. This is perfect for the belt/disk sander.

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Now it's time for the scary part I've been putting off because I don't wanna screw it up. I'm REALLY good at screwing it up, but this is neither the time nor the place to go with your strengths. I've routed enough binding channels to know that tearout is not only possible, but probable if precautions are not taken. Blue tape isn't cheap, but this is one of the things it's for.

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The channel is REALLY deep, and REALLY tall. I'm doing 2 layers of BWB, a strip of abalone, and bent chechen outer binding. So al together, it's b/w/b/abalone/b/w/b/chechen. Then on the sides, there will be bwb underneath, just like on the edges of the end block. I was hoping for 8mm deep, but the most I can get with my binding bit set is 7mm. 

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I ran it through forward, backward, and then without the tape for a final cleanup. It worked exactly as it was supposed to. I'm not used to this, so I'm not really sure what to do with total success.

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For clear and obvious reasons, doing the back scares the crap out of me. But there's nothing more for it than to do it.

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And THAT was an unbridled success. I'm starting to get nervous.

The test for the side depth seems to be right how I was wanting it.

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So let's to the top & back in 2 passes.

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I was anticipating it going through into the kerfing. From all I've seen & read, this is normal. IIRC, the kerfing is about 1" tall. so going in 1/4"-3/8" isn't going to weaken anything structurally.

Next step is to seal the back. If I don't, the superglue that WILL squeeze out will have to be sanded off. This WILL result in sanding through the veneer in even more places. 2 coats of lacquer ought to do the trick. But that's a story for another day.

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Holy Goddesses of Art Nouveau! That's superb!

I have been looking at the gaps between the sides and the top and just thought that they'll be hidden with binding but now seeing how the top and bottom actually sit only on the tops of the inner kerfing looks plain scary! Will the binding really win back all the structural stability, will a wood-to-plastic joint - wait! Are the b/w strips wood? - anyhow, will the multi layer binding strengthen the edges in the long run? Rhetorical questions as such constructions have been made for centuries and examples of the very earliest instruments still exist. If it lasts in playing condition from father to grandson it's good enough!

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6 hours ago, Bizman62 said:

Holy Goddesses of Art Nouveau! That's superb!

I have been looking at the gaps between the sides and the top and just thought that they'll be hidden with binding but now seeing how the top and bottom actually sit only on the tops of the inner kerfing looks plain scary! Will the binding really win back all the structural stability, will a wood-to-plastic joint - wait! Are the b/w strips wood? - anyhow, will the multi layer binding strengthen the edges in the long run? Rhetorical questions as such constructions have been made for centuries and examples of the very earliest instruments still exist. If it lasts in playing condition from father to grandson it's good enough!

The b/w/b strips are some sort of decorative fiber. They bend well if soaked for a bit in warm water. Bo no coincidence, water speeds the curing of the c/a used to attach them.

The top and bottom are always only attached by the top of the kerfing. An acoustic is held together by dreams, magic, and the dust of C.F. Martin's dessicated corpse. You'll notice that the top binding didn't go all the way through the top plate into the kerfing. I'm sure it'll be fine.

And your initial reaction? That's kinda what I'm looking for. Thanks!

 

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  • 2 weeks later...

As I was already binding the Kelly body, today was as good a time as any to start binding this thing also. First step is to flood/seal the shelf with water thin C/A.

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Watching the AEW PPV from this past Sunday while I'm working.

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I can only do so much before my fingers are too gummed up with dried C/A to continue. This will take several days to do right.

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The abalone purfling is going in a LOT easier than I thought it would.

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I decided against using the zip-line stuff. I bought some really inexpensive strips on Amazon. It's about 15" of pieces that are maybe 1/4" / 5mm long, all attached to a flexible paper backing. I've discovered that if I cut it into manageable lengths, I can wedge them into place, drip some thin C/A over it, and we're all good. There is ample space for the C/A to leech in to. I have enough to do both the front AND back in b/w/b/abalone/b/w/b/chechen. 

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55 minutes ago, ScottR said:

Damn, you've been busy this month!

SR

Well, I went into the hospital on 4/18. When I was ready to go back to work on 4/25, I was fired for being in the hospital. I wasn't there long enough for FMLA protection. So I've been keeping myself pretty busy. Fortunately, I have just about everything needed for these builds on-hand.

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"Notes to self" are a fundamentally important trick if anything! The problem I always have is that ideas live in my mind, but the biggest challenge isn't about coming up with them or refining them, it's about realising them....being able to write down your thoughts and ideas, or vocalise them to another person even if they don't need to collaborate is a productive step. That might be me, not sure. I don't know how other people's minds work 😉

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3 hours ago, Crusader said:

Man those inlays, how tf do you do those things? Trace around with pencil and go free-hand with a Dremel?

 

That's EXACTLY what I do. 1) Use a mechanical pencil. This will give a consistently sized line. 2) Dremel on a router base. You can spend too much on a Stew-Mac base, but I can testify that the Dremel base works fine. 3) Talk to your dentist. Their burrs & bits are the same size shank as a Dremel bit. Tooth enamel is harder than wood, so their bits wear out quickly. But they're still PLENTY sharp enough for inlay work. As they're going to be thrown away, my dentist gave me about 20 1/16" bits. 4) If it's a complicated, multi-piece inlay like each one of these, separate them into smaller pieces. This usually happens on it's own when you soak them off of the backing board. Smaller pieces makes for an easier, tighter fit.

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I'd never discourage re-use of things that still have usable lifetimes! Burrs are better for shell and stone than for wood since they abrade and chip rather than shear and cut, however down at the sizes of 0,5mm - 1,0mm (1/64" - 1/32") this is far less of an issue. 1/16" (3,175mm) is getting to the point where burrs burn and cause ruts rather than evacuate material efficiently, but if it works it works. Those smaller sizes never work in Dremels anyway as they tend to have silly amounts of runout that make a 1,0mm bit increase in cut by something like 50%. Even if the bit survives, it's cutting using far less than its actual cutting surface. I wanted to upgrade my pantograph's Dremel with a spindle, but by this point I might as well be making an inlaying CNC 😕

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  • 4 weeks later...

I haven't been doing much lately for several reasons. 1) the wood binding is going to be a real PITA and I don't want the aggravation right now. 2) I'm not satisfied with mt proposed headstock shape, so I'm stalling, hoping inspiration will hit.

In the meantime, I was playing with the micromesh I ordered in. This is how you turn ebony into plastic. Taking it to 10K grit really makes the wood smooth as glass.

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Seriously - If any of y'all are willing to offer some suggestions for a final headstock shape, I'd really appreciate it. It's the top that is my roadblock. The sides are basically defined by the inlay - about 1/4" from the edge and we're set. The top NEEDS to be both ornate & classy, and IDK what to do with it.

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43 minutes ago, avengers63 said:

The top NEEDS to be both ornate & classy, and IDK what to do with it.

That's in my opinion the hardest thing to do. The body shape is most often defined by tradition and ergonomics just like yours - a waist to put on your knee and a cut in the lower bout to allow access to the highest frets, what more could one ask for? But the headstock!!! How many shapes have already been used? How many still are uninvented? Arrgh!

Here's a couple of the most obviousdeas:

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The latter I'd rather see having more of the gibsonish moustache/open book look in the uppermost section but you get the idea.

 

 

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