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Everything posted by SwedishLuthier

  1. That! Just wow, love the curves, especially in the heel area.
  2. I would be happy to do so... Just PM me your email adress and it will be on its way. Mind you, its a very rough thing. And as I didn't know what scale length you used I made it a 25".
  3. In my experience, removing a lot of details during the design phase helps. It makes you more focused on the over all balance. I took the liberty to try something. I shortened the "tail" with 1-1.5" and to tie thing in with the quite "bulky" head (nothing wrong, I like the head shape...) I expanded the waist ever so slightly. To me this have more balance and go better together with the head shape
  4. I have been thinking along the same lines. Altho the idea that started me was when I saw a non-reduction pantograph, were a inlay was first cut and glued upside down on a flat piece of something. Then friendly plastic were pressed down over the inlay. After it had set the FP was flipped 180 degrees and a pantograph with a dremel at the business end was used to make a very accurate cut for the inlay using a stylus the exact same size as the dremel bit as a follower in the FP. Its going to be interesting to follow this...
  5. I saw that too, but the channels are cut so that the neck pickup will be thread through to the bridge pickup cavity and then use the same channel as the wire from the bridge pickup
  6. My first couple of compound fretboards were sanded completely by hand, using a long, straight but narrow sanding stick, making sure to very frequently check the progress with radius gauges . It wasn't too bad actually. I made a very simple swing jig attachment to my router table to be able to do both standard and compound fretboards. My main problem is now we're to store it as it is indeed quite bulky. It took me a day to make and I still need to add a few more permanent solutions for a few details. So for a single fretboard I would suggest the manual version as you might need two hours of manual sanding and then you have the rest of the day off, compared with starting to make a jig for that job
  7. Totally off topic: Re work benches, lokal Swedish Luthier Paul Guy (OK originally from UK) actually approached Sjöberg (a company making traditional wooden work benches for carpentry) to design and produce a Luthiers bench. The retired "Mr Sjöberg" got so into the project he did the design personally together with Paul Guy. They did produce about 20 of those benches but unfortunately they are since long gone. There was actually an article about this in a local guitar magazine (unfortunately only in Swedish) http://fuzz.se/artikel/banken-fran-stockaryd Now over to our regular scheduled programming
  8. Welcome to the forum Aaron. That place (Shinkiba) looks amazing. Apart from spray glue or ordinary wood glue spread thin on the MDF you can also print a mirrored image, place it on the wood with the printed side down and dab it with aceton. That will transfer the print to the wood. However the result I have gotten has ranged from poor to "almost acceptable", but you might be more lucky. I still use hide glue...
  9. How about hand planers? With minimum access to tool, you might need to use a bit more elbow grease and hand planers, set up correctly and sharpened nicely can trim a ready-made fretboard without chipping the fret slots. Of cause, pay attention to that and if the board is particular fragile you might have small chips and by then, stop, re-evaluate, adjust the planer or choose another method. However, with a planer you should be able to get quite close to the final shape. After that, glue the board on and make final adjustments with files and/or sandpapers.
  10. Welcome to the forum, glad you signed up and started to share! The build is looking good! I would be a bit afraid of using such a wild grain on a neck stringer as it will almost always look a bit "off", regardless of how well aligned the neck scarf actually is. I think i t can be seen in one of the pictures, first impression is that the joint is off center, but when looking a second time it is actually the grain pattern that folks the eye. A thin veneer or contrasting piece of wood in between the neck and head would have solved that . Apart from that small detail (and really, not meant as criticism); both thumbs up!
  11. I have never seen a commercialy available black fret wire, even though it has frequently been asked for. So it is probably not possible to produce. Gold is available... It might be possible to use gun blackening/bluening products on frets after a fret levelling. However I'm pretty sure this will wear off and expose thin silverish lines along the top of the frets.
  12. Oh, shoot forgot about the veneer boards, how could I do that? The veneer boards were used on Telecasters between mid 60's and up to -83 so this should be a veneer board, the Basses would presumable follow roughly the same pattern. I have seen different thicknesses of veneer boards though, some not thick enough for the depth of the fret tang, and some a tad thicker. It should be possible to see and measure at the head end as Carl said. You got me with the binding material there... I actually have no idea. However my guesstimation, based on the general Fender production approach, would be ABS. There is a sure way to check, but it is destructive. Scrape the material with a razor. If it starts smelling like Vic vapour rub, its celluloid binding material.
  13. Trying to drag me back into this one Carl? I think I would start with sanding away the lacquer on the front of the fretboard. Just to see how deep the lacquer has penetrated the fret slots. If whoever did this used some type of epoxy (What Jaco Pastorius used, a lot of people converted their J-basses just to be like him...) it might not has gotten as deep into the slot as one might think. So first sand the front down to wood and then try to pry out the lacquer (epoxy?), possibly with this tool http://www.stewmac.com/Luthier_Tools/Tools_by_Job/Fretting/Fret_Slot_Cleaning_Tool.html (forgot about that one before...) and it that doesn't work try the refret saw. If those steps fails, I'd check to see how well anchored the bindings are. I would try ever so gently to pry the binding away before I start with the jig Carl drew up. If you are lucky you may be able to get the the binding off that way. And if that didn't work, the routing jig is the next step. However I would be very cautious around the butt end of the neck. You need to change from the straight routing line to a jig that lets you follow the perimeter of the neck butt. i would probable change from a router bit with a bearing closer to that shank to a bit with a bearing on the tip (often called a lamination trimmer bit)that will follow the maple. In short, gently ramp up the degree of "violence" as each step might be more invasive and/or risky.
  14. The dremel might work, but as Tim says I would be worried about the bit wandering away. You could also think about using a fret slot cleaning saw http://www.stewmac.com/Luthier_Tools/Tools_by_Job/Refret_Saw.html but the issue is that without anything that guides that short saw it too can start to wander and then you end up with a too wide slot. Or misaligned. And it will be very hard work. I once salvaged a Gretsch Double Anniversary were someone had scalloped the fretboard (on a rockabilly type guitar!!!) and I sanded down the fretboard (it was reasonable thick) to get rid of that and then had to deepen all of the fret slots with that type of saw. It was a nightmare even though I have at least some fret slot left after I sanded down the fretboard.
  15. What I ment was that if the pickup is something like 9% of the distance from the bridge to the nut in the original layout, when you have the extended scale, place the pickup at 9% of the distance from the bridge to the nut. I have noticed that the placement of the bridge pickup is crucial of the sound. A tad to close to the bridge and the sound will be bright bordering to being ice-picking bright. Place it a bit too far away from the bridge and it will be dull and boring (all this IMHO). The neck pickup (when using two pickups that is...) is not as critical. So in short, what you said...
  16. Hi Wolf and welcome tho the forum. That is a tricky one. To be honest I would approach this by sanding away the lacquer on the fretboard, cutting or routing away the fretboard binding, use a fretsaw to open up the fret slots, glue a new (or maybe the original if it can be re-used) binding on the fretboard and fret as usual. Be aware that this means that you need to refinish the neck.
  17. Unfortunately there is no 100% sure way to say how the guitar will balance, short from building it and testing. However I would indeed recommend that, if you extend the scale more than just an inch or so, you move the bridge a bit back. I would keep the pickup positions at the same position in reference to the scale. What I mean is that if the pickup originally is place at, say, exactly the 9th order flageolet you should place the pickup at the same place after extending the scale. That is how I would approach this anyway.
  18. Agreed, never heard of. This is from the LMI site: "the color will warm-up over time to a brownish hue (avoid UV/sunlight to maintain the purple color)"
  19. Classy stuff. Is the bridge a bit off-set in shape or is it just the photo?
  20. Superglue might also work. I have used it on a few similar repairs
  21. The detailing is a-ma-zing. I really love all laminations and stuff. It is really world class. Truly inspirational.
  22. För the body, I rather go for look if I'm finishing it in a see through finish. Hov do the grain line up? Will it be attractive? Etc. For thence I take much more care and worry about grain alignment, flipping the pieces the right way.
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