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About fryovanni

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  • Birthday 03/13/1969

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    Portland Or.

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  1. I agree with what everyone is mentioning. A few thoughts that come to mind when I am bending quilted figure. I prefer a very solid form foundation, as smooth an supportive as possible. I build side forms with rectangular aluminum bar 1/8" or 3/16" is fine(about 1/2" tall, frequently placed) then cover with steel sheet. I use flexible sheet slats because I want to avoid extra tension from heavy slats while I pull the wood to the form. I use paper between the wood and slats and distilled water then seal the whole thing up with tape(masking tape works just fine for me). The idea, reduce th
  2. Yes, you have to adjust for the blade angle, and every time you swap blades this needs to be reset. It is not a flaw in your setup because the shape of tires and the style of the blade will simply change the way it rides on the tires. This angle should be predictable and can be adjusted for with your fence angle. Keep in mind this is not the same as possible tracking error from uneven blade wear, dirty blade, beam distortion or any other number of issues. Keeping in mind this drift angle is important. One thing I have found to be problematic on many fences is simply the fence does not stay
  3. Pretty much. Watch out for bugs though. Remember though to consider the amount of time it takes to aclimate wood, not really fast thicker wood. Thin wood can aclimate much quicker of course.
  4. Depends on what you are doing Dugg. If you are repeating your cuts it is VERY important. Also if you are using extreamly tight tolerance. Point fence simply cannot perform with the level of accuracy I need. Sometimes an extra couple thousandths of an inch per slice, when taking 9 slices out of a billet will be the difference between 4 or 5 acoustic sets(and if those sets are expensive Rosewood or exotic that can be several hundred dollars worth of set lost). I have never found a great fence out of the box, not to say a Kreg or even some factory fences can't be tweaked to do a good reliabl
  5. Yep, Spoke said it well. Actually, the process of seasoning could be better if the wood is allowed to go through natural seasonal cycles. Not sure I put much into the theory behind seasoning wood, but it is a theory. The important thing is to aclimate the wood to the environment you will build in. Then control the humidity during the build. It is always safer to build a bit dryer than it will be in service. The greatest chance for damage will be if it becomes dryer than when it was assembled(much more stressful). If the moisture is higher than when assembled it will swell and you will li
  6. Hey GW, I have been busy at my regular job so I have not had much time. The potential slowdown has made it a top priority of mine to keep the guys who work for me working(the thought of their families being disrupted is something I do not want to happen). So far so good, but I want to lock down at least enough backlog of work to carry us through 2010. I really want to get back to the tools soon. I miss it very much.
  7. I like ripping ebony binding strips and binding ebony boards. I like the clean look. I found a couple old pics. strips
  8. I think the premis of saving cash is secondary. Bracing for an acoustic only requires a fraction of a bd. ft. worth of wood, and even if you choose to pay for the best hand selected bits paying $10 bd. ft. The cost per. instrument is negligable. I see nothing wrong with looking for good bits of softwood in lumber form. However, you have to recognise the prices paid for "select" wood is based on that selection(don't get me wrong, some prices are WAY off base for soundboards. Don't pay crazy prices). With hand split billets of select Spruce, I will have a fair bit of waste and many lower grad
  9. You should also cut the wood close to the dimensions you will be using then mill the wood. You will lose a lot of material trying to surface a full length board with a bow than if you cut it to appropriate pieces for your parts. If you only have 1/8" bow in 40", it is not too bad. When you cut it down to say 21-24" for a bookmatched top billet, the amount of milling should be very slight. Use a jig to allow you to keep the reference surface for your milling if your infeed and outfeed tables are too small to reference the whole piece. I would opt for a jointer for your neck stock. I usually onl
  10. Seems like everyone is touching on the key concepts. Weight, durability, stability, stiffness. You should remember you also have the ability to adjust the thickness, size, shape, and how you taper to the surrounding soundboard. When you think of weight of a more dense hardwood, you could adjust the thickness a bit and bring the weight in very close. Specific gravity of say Hard Maple vs Most Rosewoods is about .6 to .8, and given the durability you should be able to thickness the rosewood a bit to adjust leaving you with a small weight difference. Stiffness is going to vary with thickness, sha
  11. I love Doug Fir. Great wood if you find a good bit. Watch out for pieces with sap oozing, it can keep doing that for years and make finishing tough. Doug Fir also varies quite a bit in terms of stiffness. If you get a good stiff piece it is amazing, and quite resonant.
  12. If it is just a top for a solid body, you could resaw as thin as 1/8"(I suppose you could even go thinner, as people even use veneer in the 1/32" range). I resaw backs and tops for acoustic guitars at 3/16"-1/8" (finished/surfaced backs are usually in the .095-.075" range). Structurally you will be fine with 1/8"(drop tops have little structural requirement). As was mentioned though, think about any carves and asthetics.
  13. Yes, this is why you want to assemble in slightly dryer conditions. This way if moisture levels fall and the wood shrinks it hopefully does not go below the level at which it was assembled. If you assemble with higher moisture, and it dries significantly it is more stressful. This is also why many builders have taken to "baking" or overdrying soundboards prior to assembly, as this may help if the instrument is ever exposed to destructive low humidity levels. Swelling or higher moisture levels generally are not that dangerous after an instrument is in service. So it is better to keep humidi
  14. So, the back and sides are fine not to be quartersawn? I know on my augustion AR-60 the sides are quartersawn and the back is close to quartersawn. That's the only acoustic I have to look at besides $50 ones. Quartersawn is prefered for stability, and the traditional choice. As Hector points out though, most of the back and side woods are getting harder to get (there is also cases where looks come into play over stability). Most would prefer to use at least quartersawn sides if possible even if wider backs are not possible, again it is about the stability of quarter over rift to flat. You c
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