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SwedishLuthier

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Everything posted by SwedishLuthier

  1. I thing the term is latching, switching buttons. Or something like that...
  2. You need what I think is called a bi-stable switch. I'll try to make a quick drawing and get back to you Edit: Here you go: This means that when you have sound any of the two switches will kill the sound and any of the switches will turn it on again. Thats the first thing that comes to my mind. If thats not what you need, try to explain more and also why you need this "odd" configuration, that might help us understand your needs better.
  3. Pretty close to spam this... However I downloaded the demo version of Bias desktop (run it as a plug in in your favourite DAW) based on a raving review in a local magazine and was so amazed by the sound that I actually consider retiring my old hardware in favour of Bias for all studio work. For the first time I can really get that clean-but-heavy AC/DC-ish sound I'm always looking for but never really get with other simulation hard-/software. As soon as the christmas bonus comes in I'll sign upp for the pro version My only complaint: I missed the black Friday sale...
  4. Tung oil also tend to lift any grime off the wood so if you re-oil often the problem should be smaller.
  5. And a decent sound... Whats you r budget, that might help us star away from too expensive stuff. I would change out the pickup and the electronics. Most electronics on low end guitars ar just that, low end stuff. There might not be a change in sound, but most likely you can hear it right away. Next thing is of cause the pickups. Shop around, try to get to listen, or listen on line, to several makers pickups before picking the one that you like the most. If you have access to tools and a certain level of experience with those you can even "go wild" and put in MM pickups or something that isn't P-bass-ish at all.
  6. I have used Korin and I haven't had this problem
  7. First of all: Welcome to the forum. It might help if you describe what you feel is sub standard compared to other instruments. But my guess would be things like bridge, tuners, pickups and (most important) set up. The hardware is pretty staring forward to exchange if you feel decently comfortable with the most common tools and a soldering iron. The setup requires a bit more knowledge. But that is available on line and if you are willing ot research (or simply ask a more specific question here...) it is no real obstacle. I would start with a look at the nut, the truss rod adjustment and the bridge string height.
  8. Nice guitar. The bridge shouldn't be a problem, it looks like a fully adjustable unit. The nut will need some work if the old fretboard was 14". An yeah, you will need all 24 frets...
  9. West systems are frequently being referred to as the go-to solution for surface covering (compared to more traditional gluing) applikations. However I have more or less the same problem with one of the epoxies I use for gluing graphite in necks. The glue gets completely cured, but the outer surface of any seep out or similar are sticky, even after a week of curing. It seems to me (Although I'm far from an epoxy expert) like some epoxies might have that properties, curing but remaining sticky on the surface.
  10. He he, no problem. Lets just agree that we both have excellent taste! I'm really curious how you guitar will look in the end. And I'm sure yours will be very nice too.
  11. No big problems to go from a 14" to 12" radius. You will need to adjust the nut and the bridge radius. The nut radius it probably what scares most people the most, but you will probably need to do a nut job even if you replace the fretboard with an identical radiuses board. And adjusting the bridge might be very easy or a bit more job depending on type. Do you have a picture of said (or similar) guitar?
  12. Nice design. Looks a bit familiar though... more pics here>> I know it is extremely hard to be original, so no problems from my side...
  13. Don't know the radius of your fretboard, but here you can find 24 fret fretboards with 12" radius: http://www.stewmac.com/Materials_and_Supplies/Bodies_and_Necks_and_Wood/Electric_Guitar/Fingerboards/Slotted_Fingerboard_for_Fender_Guitar.html If you need 24 frets or not is depending on the design, but I'd say that if you had 24 frets you need that on the new fretboard too.
  14. I'd say that there is a tiny difference in sound. My perception is that the longer scale length has a bit "snappier" sound compared to the shorter (generally speaking) and I can hear a bit of that when comparing a 25.5" and a 25" scale guitar. However, and this is important, that can also be contributed to the difference in feel (longer scale, stiffer strings) that translate in a different approach of the player and it might be that I hear and not an actual difference in sound.
  15. Welcome to the forum! I can see that you like to spend some serious time on perfecting jigs. Really nice. And the guitar too, of cause!
  16. Thanks! A bit off topic but the graphite can be found in any on line RC shop. Use epoxy as the solid graphite pars, sheets etc are essentially graphite fibers in an epoxy matrix. As long as you have an epoxy that bond well to wood (and possibly scuff sand the graphite to dull it slightly) you should be fine.
  17. I Use TurboCAD so the Block funktion is not entirely different from the block funktion in TC. If you are fine with the scaling part, just go ahead and do it. The main thing; if you should care about that tiny difference, the anser is "not really". Cutting graphite with sharp tools is a nightmare. I tried to plane a neck blank on my planer and one single run made small groves in the planer blades. Yikes! It dulls my spokes shave quite quickly, I have to sharpen it halfway through a neck carve compared to after/before a complete carve without the graphite. Sanding is OK, almost as sanding wood. However the dust will be even worse than ebony dust in that it blackens maple and other light woods. Be careful, blast away all dust with compressed air, clean your paper after every second/third stroke or so when you are approaching the final sanding grits and you should be fine. Wear a dust mask and long sleeves, the dust is not pleasant on your skin and I can only imagine what it will do if inhaled.
  18. I don't know if you saw that the on line fret finder have a "multiple" scale function. Punch in the two scale lengths and the fret number you want to be perpendicular and export a DXF-file that you can import to Auto-CAD. And you are ready to go. If that is to simple, I made my first multi scale by step by step starting with two standard scale drawings, isolating one single string on each with included smal fret "snibbits", placing the single strings side by side, aligning the perpendicular fret, extending the fret snibbits, adjusting the string spread, angling the bridge and nut, drawing the outline of the neck, drawing new frets by connecting the points were the fret snibbits cross the neck outline and you are good to go. Or simply use the dxf from the on line fret finder. Seriously, doing it the manual way is extremely time consuming, compared to getting the job done by the online tool. And the difference between the two ways to measure a fan fret scale will be minimal. You can also discuss if a fan fret scale should be measured from nut to bridge or from fret board edge to "bridge" (theoretical bridge placement that is...) as those measurements will differ slightly too. In the end the differences are minimal and personally I just use the tool and don't spend more time worrying about that part... That link i pasted lived its own life... Heres a picture: The neck in case is a nice wood called Spanish Cedar or Brazilian Cedar, actually a wood within the mahogany family. It is extremely light weight, but I wouldn't trust it to hold for a 8-stringer without the reinforcement. So the neck is Cedar, maple veneer, graphite, maple veneer, graphite, maple veneer, cedar and so on. Very effective way to spread the graphite our and closer to the surface of the neck as the stiffness of the neck is greatly increased if the reinforcement is closer to the surface compared to buried deep inside the neck close to the center.
  19. Andrews suggestion to use the on line fret finder is excellent, that is actually what I use for fan fret instruments, export it as DWG-files and import it into my CAD SW. But IIRC the tool can also export printable formats (PDF?) I have become a big fan (no pun intended) of a perpendicular fifth fret as it still keeps the left hand in a reasonable comfortable angle when playing cords and the higher positions are all still very natural. None of the eigth string fan fret guitars I have built have double truss rods. However I use graphite reinforcements on all my necks. Have a look at this: http://peternaglitschluthier.com/eng_index.htm and you will find some pictures of one of the instruments. The black stringers you see at the back of the neck is actually thin layers of graphite. I have tested this method and compared it to inlaying graphite in the middle of the neck side by side with the truss rod and this method is way superior as it also fight any twisting tendensies in the neck.
  20. Today's luthiers have at their disposal a bewildering array of tools and jigs to perform measurements of their instruments whilst under construction and during set-up. One such tool that has been developed in recent years to help simplify the process of setting up a guitar is a Nut Slot Depth Gauge or String Height Gauge. These tools enable a more accurate and direct measurement of the string height over the first fret by providing a real-time readout of the distance. Traditionally the string height is checked by depressing the string at the third fret and checking the distance between the string and the first fret. With a Nut Slotting Gauge the string height over the fretboard at the first fret is first measured. The string is then depressed on both sides of the first fret, and the two measurements are compared. By subtracting the fret height and the string thickness you get the exact height of the string over the first fret. In reality this is often done by zeroing the tool in one of the two positions - string depressed or string released. While constantly checking those measurements during the nut slotting process the user can dial in the string height to an accuracy of one hundredth of an inch. For several years the only commercially-available tool was the Nut Slotting Gauge by Stewart-MacDonald, based on a mechanical readout dial. A fresh newcomer has entered the market in the form of the Digital String Height Gauge by Luthiers Mercantile International Inc. This tool performs the same function as the Stewmac Nut Slotting Gauge, but is based on a digital caliper mechanism adapted for measuring the height of the strings over the first fret. Recently I had the opportunity to try out the LMI Digital Gauge and compare it to the well-established Stewmac unit during some set-up work. First Impressions The LMI unit is made of plastic and is much lighter compared to the Stewmac tool, the latter being of metal construction with a heavy brass base. Don't let the light weight of the LMI gauge fool you though; in use it still gives the Stewmac version a run for its money. I have now used it on quite a few new nuts and setups on older instruments and it works exactly as it should. As the LMI unit lacks the brass base it is sometimes a little hard to balance the tool when measuring the outer E-strings, but with a bit of practice that can easily be overcome. In that area the Stewmac unit performed much better with its wider and heavier base, allowing it to stand freely without toppling over. On the other hand, the lack of a wide base that straddles several strings simultaneously means that the LMI unit is much more flexible in terms of usage with odd string spreads (for example, on bass guitars). One possibly-unforeseen disadvantage to the Stewmac tool's heavier base is that it is far more likely to cause scratches or dents if knocked over or dropped onto the instrument. The LMI tool being purely a manual hand tool will never be left on an instrument unchecked. Zeroing the Stewmac gauge to start performing string height measurements is accomplished by lowering the mechanical plunger until it just contacts the top of the string and then rotating the dial until the pointer indicates "0". The LMI tool zeroing function is much simpler in that the tool is placed on the string and then the "Zero" button is depressed. In practice I found it much simpler, and more exact to reverse the ”measure/reset” routine suggested in the tools' documentation. I lightly depress the plunger so that the string rests on the fret and zero it in that position. By doing so the measurement will be a displayed as a negative number when the string pushes the plunger back up after being released. After the first zeroing I can put the gauge away and work on the nut slot. When I want to measure again, I don't need to reset the gauge. Instead I just place the gauge over the fret, rest the plunger against the string and read the string height instantly on the display. And it is much more accurate to zero the tool against the fret/string rather than on the flexing string suspended in free air. Both tools perform equally well in this regard, with the LMI gauge having the edge over the Stewmac version in terms of ease-of-use. Having a tool like this will make your set-up jobs more accurate and most of all, consistent and more repeatable. If you take notes on your setups you can very easily duplicate the results on several instruments at once. Very useful for technicians working on more than one of a client's instruments. The LMI tool works well on both guitars and basses equally, and with a variety of string spacings or multiple course instruments such as 12-strings. The Stewmac version has a base that spans three strings keeping it more stable, but disqualifying it for use with instruments featuring wide string spacings. Stewmac however do offer a Nut Slotting Gauge with a different base for use with bass guitars at an additional cost. Verdict In my shootout between the Stewmac and the LMI gauges I found the latter to be faster and easier to use overall. The base of the tool is much more flexible when it comes to string spread and gauges. The Stewmac tool wins in terms of being more stable when measuring the outer strings (extra points awarded as it will never run out of battery power). Under heavy use in a workshop I am concerned that the plastic parts of the LMI unit might not survive as well as the Stewmac version, however I have not had the tool long enough to be able to make any definitive conclusions about that quality of its construction. In general a guitar workshop is not a hectic workplace so these types of tools should not be subject to excessive wear and tear. If we look at the monetary side of things the LMI gauge is a sure winner at about 75% the price of the Stewmac version. Additionally you would have to purchase two gauges from Stewmac to work on do both guitars and basses. Both the Stewmac Nut Slotting Gauges and the LMI String Height Gauge perform exactly as advertised; they let you increase the accuracy, repeatability and quality of your setups. My heartfelt recommendation is that get your hands on one of these gauges for this common and crucial task in the guitar workshop. Your setups and customers will see the difference. http://www.lmii.com/products.html?page=shop.browse&category_id=1460 http://www.stewmac.com/Luthier_Tools/Tools_by_Job/Measuring/Nut_Slotting_Gauge.html
  21. I have not done exactly what you describe (large decal on body) but my gut says that I would shoot the base. level, shoot a few layers of clear, apply the decal and then shoot a lot of clear. And you are right in assuming that you need a lot of clear to make the edges of the decal invisible. Before I got mu current headstone logos I used a transparent vinyl sticker and man, did I had to lay down the finish thick.
  22. You might try fret leveling under string tension. Search for Rick Turner fret leaving or something like that. Or build/get a neck jig if you are really serious. I have a neck jig but I rather use the Turner method.
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