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SwedishLuthier

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Everything posted by SwedishLuthier

  1. I have a bit of experience of pickup winding. Please don't take this wrong but do not, repeat do not, expect the first ten or so pickups to sound good. You need to wind about that amount of pickups to learn to get consistent result. And to copy a design (given that you know all the ingredients) you need to be able to produce pickups in a consistent way. I had to make some 10-15 pickups before I was reasonable satisfied with the results. Having a look at the actual objekts of your desire: https://bareknucklepickups.co.uk/main/pickups.php?cat=humbuckers&sub=contemporary&pickup=aftermath and https://bareknucklepickups.co.uk/main/pickups.php?cat=humbuckers&sub=contemporary&pickup=juggernaut I notice that they are quite different, sound vise. What do you really want to achieve? My initial guess is that you like the looks... Now to the actual question. What strikes me first in regards of construction of these pickups are that the magnet config of both bridge versions are very similar to the old Gibson Dirty Fingers in that they have three magnets instead of the usual single, central "traditional" magnet. This means they have the usual magnet plus two outer magnets. Like this original Gibbo DF: It is highly unlikely that you are able to find magnets that exactly match this configuration, thus making it almost impossible to recreate this pickup. Should you on the other hand succeed in that department there is really nothing special here but a high output, overwound pickup with allen head screw instead of traditional (mostly cosmetic difference), wound to something in the range of 7000-8000 turns of 43 AWG wire, all other stuff pretty standard. Nothing fancy really. Except for the looks... You can get all the parts for this build here: http://www.mojotone.com/guitar-parts/Humbucker-Parts-List Pick this magnet: http://www.mojotone.com/guitar-parts/Bar-Magnets/Mojotone-Ceramic-8-Bar-Magnet-2-95L-196W-500T#.Uv5EXnkrZ0Y in combination with two of those: http://www.mojotone.com/guitar-parts/Bar-Magnets/Ceramic-8-Bar-Magnet-2-35L-x-250W-x-120T#.Uv5EhXkrZ0Y Go with standard pole screws: http://www.mojotone.com/guitar-parts/Humbucker-Parts-List/Mojotone-Humbucker-P90-Polepieces-Nickel-6#.Uv5F3XkrZ0Y It will get you a decent approximation of the original Gibson DF magnet configuration (which I am totally convinced is what BKP have copied). Good luck!
  2. The heat is applied for a very short period of time so the glue counts will probably not be affected. This is an example. Different wood scorches in different ways. A wider nossel spreds the heat more evenly and giva a smoother result.
  3. Ahhh, soapbars. Excellent choice. Looking good, nice clean work.
  4. Exactly my though, som sand back method. Look at the volute or around the edges and you see much brighter wood. What could be expected when sanding a bit un-even on a dark stained (or torched) surface
  5. nice save! If I have a neck that has the holes already drilled I usually do exactly like you say, use short, sharpened screws in the neck and push it lightly into the neck pocket to make a mark, then drill from the neck pocket side.
  6. First: Welcome Next: This is a great place. Lot of skilled and experienced builders. However we do like to see that peaople make a dsearch and see if a topic has been covered before and simple stuff like that. No-one will step in ans aska the question "teach me everything" (not saying that is what you do) So, the topic on hand: First ask yourself, do you want a uke? if not, there is, as you mentioned, more or less the same work invilved in makeing a good quality ukulele and a good quality guitar. So if your idea is to make one single guuitar, why not make a guitar right away? Next, I thingk you should consider a kit. There are several specialized tools that will cost you dearly and if you are only going to build one of two instruments you are going to have a few very expenive instruments. A kit will take a way a few hard parts that need specialized tools or some makeshift solutions, ie side bending. Just food for thought Other than that. To be able to help you further it is a godd idea to describe what level of wood workmanship you consider youreslf on and things like that. Once again, Welvome and god luck with your project
  7. Routing binding channels around a flat surface is a basic operation where a router cutter is guided around the target surface with an offset equal to the depth of the channel required. Either the cutter itself has a specifically-undersized guide bearing or the routing fixture holds the workpiece a set distance from the cutter. This operation can be carried out either using a hand router or a router table. Several common supply outlets sell router cutters along with bearing sets for a number of common offset sizes: StewMac Binding Router Bit Set (US)http://www.stewmac.com/shop/Tools/Special_tools_for_Routing/Binding_Router_Bit_Set.htmlLMII Binding Cutter & Bearings (US)http://www.lmii.com/products/tools-services/binding-tools/binding-cutter-bearingsRall Guitars Adjustable Downshear Binding Cutter (Germany)http://shop.rall-online.net/epages/61511639.sf/en_GB/?ObjectPath=/Shops/61511639/Products/19110002Binding channels around a surface which is not flat presents a number of difficulties. I have used the router sitting on top of the body. I have used a router table set up with a ”doughnut” riser which rides under the body against the non-flat top with spacers at odd positions and with odd workholding attachments along the perimeter such as this: However, it is not a simple or convenient job to get the spacers to hold a non-flat body very well and generally never been completely satisfied with the results. Since I had three acoustic builds on the to-do list, I decided I really needed to find a better mousetrap so I had a look at two systems: The $252 TrueChannel Binding Router Jig from Stewmac: http://www.stewmac.com/shop/Tools/Special_tools_for_Binding/TrueChannel_Binding_Router_Jig.html ...and the $216 Professional Binding Machine from LMI... http://www.lmii.com/products/tools-services/binding-tools/lmi-professional-binding-machine Both systems have two major components. The router is held in a vertical caddy attached to a table. The caddy allows the router to float up and down over the workpiece using a guide bushing/collar situated around the exposed area of the cutter. This collar rides against the top of the workpiece to provide constant height of cut whilst the bearing on the router cutter is set for the required depth. A carrier holds the workpiece over the table top. This orients the body to keep the sides vertical; perpendicular to the cutter. In theory this allows rising/falling binding channels to be cut over forearm contours, into cutaways, around carved tops or any other shape without re-setting up any part of the system. The LMI version is significantly more expensive due to its higher level of flexibility and robust construction. The biggest differences are found in the way each system's workpiece carriers are constructed: The Stewmac system requires a simple plywood body shape (either Stewmac's own or of your own design). Four aluminium and plastic L-brackets with a non-locking height adjuster and semi-permanently fixed to this base. Additional brackets are available if alternatively shaped carrier configurations are required.The LMI version is re-configurable and fully adjustable (at least, to some extent; more later) with longer travel in the adjustment system; in general it is a smarter solution.I decided on the LMI system for its sturdier build quality and its apparent ability to handle different (ie. with/without cutaways) or more radical body shapes and ordered it. (Subsequent to writing, Stewmac have upgraded their router carrier to be more robust) UNPACKING AND FIRST IMPRESSIONS Out of the box, the system needs minor assembly work. The router caddy itself comes fully assembled, leaving the carrier to be screwed together. Assembling the carrier is a pretty quick job, done in a few minutes. During assembly it was noticed that a few things could have been done in a better way. The square-nuts-in-square-holes could be upgraded with threaded bushings to make it a stronger and more foolproof system. When mounting a guitar into the carrier, I accidentally loosened one screw a tad too much and lost one of the nuts. Being an Imperial thread (Metric in Sweden) it was not a simple case of getting a new nut - I spent almost 20 minutes searching for the lost nut on my dusty workshop floor....so you have been warned! (I'm not sure if this is a comment on Metric/Imperial or dusty floors!!) I decided to secure the nuts in placed with a drop of superglue.The Neoprene rubber protective sleeves fitted to the upright posts on the travellers are a bit loose, thus it is possible for them to be misplaced also. These were also secured with a drop of superglue in the upper position. Maybe not the most elegant solution, but it works.I'm perhaps rushing ahead....back to first impressions! The fit of the parts is very tight, almost too tight; you have to push the screws through the holes. In my book that is not a bad thing. It just means that you will have a precision fit for a long time before the plywood wears and loosens. The assembly and user instruction videos on the LMI website are excellent. Only thing of note was neglected to be mentioned; the spring that pushes the thumb lock against the notched rub collar is not permanently attached which could possibly result in the spring getting lost. Other than that my wholehearted recommendation is to have a look at Brendan O'Briens videos explaining both the assembly and the use of the machine. PRODUCT DESCRIPTION My test object is a very small bodied alto-guitar, measuring 14” or 353mm across the lower bout and 18” or 457mm in length. That seems to be more or less the smallest body that can be used in the carrier. My test body worked, however smaller mandolin or ukulele-sized instruments will present a problem due to the minimum workpiece size the carrier can reliably hold. The LMI instructions recommend fitting routers or laminate trimmers with small sub-bases such as the Bosch Colt. My slightly over-sized DeWalt D26200 laminate trimmer had to be taken to the belt sander to remove a small portion of the base, plus new holes needed drilling into the router carrier. No problem and a quick fix: I noted that someone must have had a small (but significant) brain fart when designing/producing the components for the caddy. The base of the caddy has two long keyhole-type attachment slots with recesses for the bolt heads which allows semi-permanent attachment to a bench. The recesses in my caddy were on the wrong side, meaning that I could not screw bolts down into the keyways. If you plan on having the machine as a permanent fixture, it is worthwhile drilling additional mounting holes further back as it makes the most sense from a balance point of view and improves rigidity. Using two clamps to hold it in place had no problems at all.... The binding caddy was clamped to the router table and the carrier assembled. Positioning the body steadily in the carrier, adjusting the router bit with the correct bearing and cutting depth was a very simple and quick job. In use it is probably the fastest binding job I have done so far on a non-flat guitar top; both sides were completed in less than five minutes. Comparing this to the old "doughnut and spacers" I used previously - cutting a small part of the binding channel and then repositioning the spacers several times - this is a breeze to use. Sharp ledges routed, perpendicular to the sides of the body and no mishaps or difficulties whatsoever. The micro-adjustable rotating rub collar is really great to fine-tune the depth of the cut; I cannot stretch that part enough. With a .003” or 0.76mm adjustment for every notch in the rub collar I was given precision control of the cutting depth unlike anything I have used before. The only other system that can achieve this level of adjustability is a precision router lift in a router table; and they can only cut in one dimension! It is definitely a better idea than adjusting the cutting depth relying on the router itself. The carrier glides smoothly over most surfaces. It is worthwhile ensuring that your chosen surface is clean. Whilst I used the surface of my router table, a sheet of laminated plywood or particle board would also provide an excellent working area. The router lift mechanism smoothly moves up and down in the caddy to follow the slightest arch in the workpiece. Most importantly it keeps the cut of the router bit perfectly parallel to the sides. THE RESULTS Clean sharp binding channels: WHAT COULD BE IMPROVED...? What I would like to see is an adjustable counter weight system to really tailor the movement/pressure against the top from the router. With my big DeWalt, the pressure against the top is just about acceptable; any more and I would be concerned about the rub collar might compress the surface fibres and leave a mark in softer woods - such as spruce - when it passes overhead. Two small things were noted in use. The bungee cord used to tighten the carrier assembly feels a little cheap. It works, however a slightly stronger and possibly more durable "long-term usage proof" solution would be excellent. Also - perhaps as optional parts or a kit - a smaller carrier base and/or shorter arms to allow smaller instruments to be processed would be very welcome. All in all - despite the inconsequential tiny quirks - it is in the end a solidly built tool that does exactly what it is supposed to do. It does so quickly and easily and is indeed a real time saver. In a busy shop or one where time is of high importance, that time saved directly translates through to money which more than offsets the initial investment. To the amateur or enthusiast, it transforms an otherwise complicated, slow and unpredictable task into a simple one with professional results - at a cost. THE VERDICT One word: Expensive! However, if you are serious about your building quality and plan to make more than just one or two guitars, it's worth it. Perhaps not targeted at the newbie or the occasional hobbyist. There are much more affordable (primarily DIY) system out there for those who will do this job every second year or so. If you are a regular builder with high standards (or a hobbyist with deep pockets who doesn't settle for second best) then this is the tool for you without a doubt. IN SHORT + Highly accurate precise work + Smooth action + Sturdy and (seemingly) very durable + Does what it is supposed to do simply, quickly and efficiently - Expensive - Would benefit from an adjustable counter weight system to account for different router's weight - Components (square nuts, thumb lock spring, rubber sleeves) can fall off during setups - Base plate/arms cannot accommodate small instruments
  8. I object your honor. This would mean that we had science instead of Woodoo. Really bad for the industry. Stop this project at once!
  9. I've made only one guitar from Sapele up to now and I'm quite hesitant to use it again. Its is not heavy, it's damn heavy! I made a SG-thin body and the guitar is still on the heavy side. The sound on this particular guitar is indeed om the heavy side even thou my experience is quite limited.
  10. Don't worry about it if it is only a smal strip of wood there after you re-rout the pocket. If done right a glue joint is as strong, or stronger than the surrounding wood. Haven't tried West system as it isn't available here so I can't really help you If you are planing on using oil as a finish that by itself darkens the wood and might help to cover up the darker spots of glue/dust mix. However I advice you (possible unnecessary) to test on scrap so you know how the oil will be on top of the epoxy/dust mix. It will probably be some problems with the oil not penetrating the patch and there might be some issues with the oil curing in another way because of this.
  11. Me thinks you posted a reply in the "wrong" thread... Maybe copy it into your other thread and ask one of the mods to delete these two posts...
  12. I think your ideas are more or less sound. You gotta realise we see a lot of people coming on to the borad with un-realistic expectations, but if you have some woodworking and finishing skills, or are prepared to get those skills withut ruining your guitar-to-be there are no reasons why you can't end up with a nice guitar. But I cannot understand why no-one have said this: Get a good book. Melvyn Hiscocks bood are more or less the standard book to get. It will let you avoid a few pitfalls and explain some other things like neck ange, scale lenght etc.
  13. Tapered vertically! Got it. I haven't tried to use glue/dust combo for that specific aplication, just for other things. For willing holse and other it works. The mixture of glue and sawdust often comes out darker than the surrounding wood, so if you are planing a non-opaque finish, you might consider just doing mahogany wedges and glue them in. Shurely too late, but LMI have a template bit with a 7 degree angle: http://www.lmii.com/products/tools-services/rout/shape/drill/router-bits I don't know if the ange are right (positive vs negative angle). In a router table it should be possible to use those bits to rout the wedges, even if the bit are angled "the whrong way"
  14. Firsta: Welcome to the forum For pictures there is either the gallery section, or you can, as I mostly do, use Photobucket BTW "all" necks have this taper in the neck pocket area. There are som jigs to handle this, search for "Myka Neck Jig". A more low tech approach is to clamp the neck in place on top of the body, perfectly aligned with the center line, use straight bits of MDF and double stick tape right up snug against the neck on both sides and the end side, remove the neck and rout away with a template bit. It is probably a good idea to put one or two layers of masking tape on the makeshift template (the side towards the neck pocket rout) to make shure the rout is as tight as possible. If the neck fit is too tight, remove one layer, rout and test again (not removing the templates in between of cause...) One important point is that the neck need to centered on the center line not only in the neck pocket area, but also in the bridge area. If not the bridge will be off. To ensure this I use two long straight pieces of wood, clamped alongside the neck in the neck pocket area and thus "projecting" the sides of the neck towards the bridge area. If you have equal distance to the wood pieces from the center line you are good and can clamp the neck in position and go forward with the above describes method.
  15. And if the guy decides he is not up for the fast of finishing the guitar, just send him to me (just kiddin) Very nice stuff, indeed.
  16. My choice for the sympathetic stings would have been something lite this: Several reasons: - You can and will need a tuning wrench, meaning better force and better precision - proven - very size economic, you can place the strings very close to each other (i think this is similar to what danolectro used on their electric sitars in the 60s) - very good price
  17. I liked all the guitars this month... Hitones guitar is great, but I cannot really vote for it as I don't think he main theme (chosen by the customer) is rally OK or PC or whatever. Great work as always thou Pukko got my wore. Several reasons, but the most important is that it is simply a fantastic guitar with such attention to detailing and finish. And I finally got to se the finished result as I talked too Pukko on the same day he bought the bridge at a local guitar fair a few years ago. Chris has made a great neck and as usually found some way to reinvent old ways of doing stuff. I would love to try that method out some day. Great idea AndyT, a good execution and over all nice vibe, but not on par with the rest of the contestants this month Shad Peters, great, great guitar. Love the wooden Bigsby and the wooden TOM base (quite similar to the wooden base for a arch top I'm about to enter as soon as my web master reappears from were ever he has disappeared to...). The detailing is great with wooden pickups rings and all. It would have been a winner in most GOTMs, it it hadn't been up to the Howl-o-body
  18. After reading this I feel so stupid. I had no clue the frets were made from magnetic alloys... Great tip, thanks for sharing. This is what I do (so much more low tech...) I have a similar problems with the offcuts, altho I always work in the workshop (working in front of the TV has an extremely low WAF in my family). As I don't want any of the offcuts to remain on the workbench and scratch the next guitar on there I use two large beach towels stitched together on three of the perimeters (right word?) laying on the bench. So I can easily just shake every lost sharp bit of fret off. And if it gett messed up for some reason I'll flip the towels over. And when that side get dirty I turn the thing inside out and I have two new fresh sides. Then I throw it in the washing machine. Much easier to get the towels in the machine compared to trying to get my bench top in there...
  19. You can fill the dent with lacquer if it isn't too deep. If you sand the finish flat and buff it out it will de visible if you look at the surface of the wood, beneath the finish, but it will not be obvious.
  20. Or we just were convinced that either way would look great, coming out of your workshop!
  21. If I get you right you will use a solid block of wood between the bridge, at least the same size as the bridge or larger, between the back and the top, part of the big canoe that the body is (hollowed out solid piece)? I guess that we also are talking about a traditional Pin-bridge or maybe even a string-through-body construction. If so I don't think there is anything stopping you from using a traditional acoustic top thickness. The hollowed out body and the solid block under the bridge will carry most, if not all, of the load. However the acoustic aspect of the guitar will be not much more than that on a Gibson "Weight Relief" chambered Les Paul, meaning... not much. If you what a decent acoustic sound you need to use a vibrating top plate that vibrates more or less as a traditional acoustic top. Having said that I get an as good acoustic sound from my sapele solid body MorningStar SC with Graphtech Ghost saddles as the acoustic guitar player gets from his mid priced, piezo equipped Dreadnought... Disclaimer: I have not built a guitar like you suggests, so this should all be looked at as opinions, not hard facts
  22. After your comment on the drill press routing method I had to look it up. I had seen O'Brians videos bfor, but only a fraction of all of them availible. I was sitting in front of his youtube chanel for an hour, bummer. Really nifty method, i recomend anyone that has experienced a blow out at the head (gutiar head that is) to have a look.
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