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olddog

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  1. Thanks for the advice. I have that sm tape you mentioned, it was the reason for my question. The guy selling the stewmac bar was using that, but the other experts were using the diamond leveler and the other guy a short file block. I was wondering what the "word on the street" was. Another question I have is; if you have the guitar in a jig to simulate string tension, do you set the relief also? I'm guessing it would have to matter.
  2. Just from the little research I've been doing the past couple of weeks, (for making some motorcycle parts), it seems you can get carbon fiber with different fiber or "grain' orientation. It also seems there is a worldwide shortage. I'm guessing due to the new Boeing airliner.
  3. I just want to get few opinions on leveling tools. I already have the16 inch bar (stewmac #4578), and I'm debating whether to get the adhesive sandpaper for that bar, or get the diamond leveler,(5256). Also, I already have the 3 in 1 crowning file with the replacable burrs, what is the best crowning file around? Thanks
  4. Does anyone have any advice on staining a fretboard? I was thinking about putting a slight blue tint on a fretboard. The stain is solar lux sea foam blue reduced with behlin reducer. The plan is to just put a coat of lemon oil on every once in a while, no other topcoat. I expect a certain amount of wear, but do you think normal wear will just look crappy?
  5. Is there a reason why slotted pegheads are primarily on accustic guitars and not solid body electrics? Is it just a style thing or is there a functional reason?
  6. Thanks for the ideas. I got my slotted f-boards and started sanding, I used 1/2" square tubing for my rails and screwed the board down with countersunk drywall screws at the ends of the board. It wasn't quite as bad as what I figured, but it did take a solid hour of sanding. On the next board however, I WILL cut the board to the approximate size before radiusing, as it seems the bulk of the sanding was on the part of the board I will cut off.
  7. I want to make a neck witha bloodwood fretboard, but I noticed that LMI will slot, but won't radius a bloodwood board. My question is, how hard is it, or more importantly how accurate is it to radius a board using sandpaper with an 8" long radius block?
  8. Hi. I've always seemed to have a problem filing the little burr that's under the crown at the end of the fret. Even when I bind a neck and file off the tang, it's still there. I've tried the stew-mac end file, and that gets most of the burr, after playing for a while I can just feel little tugs on a burr. It's not a real huge one just enough to let you know it's there. I usually finish over the fret ends, so I have to wonder if I'm rubbing enough of the finish off to expose the burr? I've tried coming from under the board and sweeping up with the file, but I just can't reach it.
  9. Hi. I want to make a solid body " Rick like" 12 string, and was told they are made of eastern rock maple. Can someone tell me where I can get a body blank? I was able to find quilted and flamed maple blanks, and rock maple wings, but not something called eastern rock maple in a full sized blank. Thanks
  10. Hi. I saw on a french polishing tutorial that copol or sanderac may be used to harden a french polished finish. Has anyone tried those? I'm going to order some from a violin guy in Canada, along with a few different dyes, and I was wondering if the additives make a difference in the techniques. I guess I'm all for getting a harder finish if it doesn't affect the look or make it too difficult. Thanks
  11. Hi. I'm making a solid body 12 string, with a hard maple neck. I'm routing in two truss rods, ( from LMI, 1/4 inch wide and 3/8 inch deep.) The overall fingerboard width at the nut is 1 and 7/8 inches. How far from the centerline should the trussrods go? ( I got the smallest duel action trussrods I could find to keep the neck depth as small as possible.) Thanks
  12. Hi, thanks for the detailed advise. I'm starting to learn enough so at least I can ask pertenent questions. The "test" piece is actually a clock, with 1/4 inch strips of mohogany on the side kind of like a wood strip boat. I used z-poxy mainly to fill any gaps in the strips, and also just to try it as a grain filler prior to french polishing. I have a couple of questions. I used zinnser amber shellac as a wash coat, and planned to use it for everything, but it was very thick sticky compared to what I used in the past. ( Zinser seal coat). I started to body with the amber shellac, but had to switch back to the seal coat. Then everything started work nicely. (Nice gliding and a nice trail.) I have to assume that you guys mix your own, is that the way to go? Second question; Am I right in assuming that grain filling with pumice is grabbing dust created by "sanding" with the pumice, then forming a paste of dust, pumice, and shellac from the wash coat, and forcing it into the pores? My last attempt at grain filling with pumace got me 95% there, but the last 5% still eludes me. I'm getting a spectacular finish, but not perfect. Thanks
  13. Hi. I just finished grain filling a mohogany and walnut test board with z-poxy, and I plan on french polishing it. My question is, do I treat the epoxy filled piece as I would bare wood and start with a wash coat of shellac and the go on to grain filling with pumace to fill any pores that may show up, or do I go straight to bodying sessions? Thanks
  14. Hi. I read a thread a while back that described using ca on a neck as a finish. I tried it on a flat piece of maple and the feel was incredible. I have a few questions. I used a credit card to applyit to a flat piece. Would wiping it on with a rag be better for a neck, or does the ca dry too fast to get an even coat? Also, I saw some guys talk about a black ca. Where is this available, and can this be used as a pore filler just to accent the pores before coating again with clear ca? Thanks
  15. Hi. Thanks for the info. I picked up a few different sized nuts. I will put some pics up when I figure out how to do it. Thanks
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