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pan_kara last won the day on April 5 2018

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  1. I've had these mystery buzzes and strange sounding strings in the past. Some still unsolved I even had a guitar recently where one string would have the 12th fret harmonic over the 13th fret almost. (turned out it wasn't my sloppy building, it was the string itself). But I never had an issue this severe so I can only imagine how frustrating it must be.. Here's my suggestion: you have to make sure if this is the following fret(s) that's buzzing or something else. (bridge, fret seated loose, truss rod resonating, flat crown) I know you checked all those things, so all evidence would point to "following fret"... Including having no buzz on the last fret. But if it was that, it should go away when raising action, so there's our mystery right there. What I'd try: pull out just the last fret, see if the last-1 fret still buzzes. Maybe continue for a few more frets. If the buzzing disappears, then we have a problem with neck-string-fret geometry. If it doesn't, then it's something else. I measured some guitars that I have at hand and in general the way they're set up is that when I fret a note at the 12th fret, the clearance between the unwound strings and the 13th fret is around 0.10-0.15mm (.003-.004 inches) with no buzz
  2. true .. it must resonate in a lot of funny ways, as you said. Cool idea! my whole "analysis" project is on hold at the moment due to the usual issues (aka life). I did push it along quite a bit in the past months though, then decided to preclude the whole thing with a youtube series describing the basics that my approach is built upon (starting with a full overview of the vibrating string physics) .. and drowned in the literature studies that I needed to do. It's still all near the top of my priority list actually.
  3. Well I'm having a hard time finding time to push these along recently, and when I do it's fixing mistakes and detail work like sanding, nut slots, tweaking neck profiles etc. So nothing to show. Except the promised "I suck" photo:
  4. well I've seen worse, but you can definitely see it . I'll post a "better" picture, you'll see what I mean
  5. Thanks Scott, these are some pretty cool ideas. I like the one with the extra wood block, not sure I ever saw something like this. Could look pretty cool! Too lazy for the moment, but it got me thinking for the future ... For the moment I went with a simple patch with another piece of the veneer, not invisible by any stretch but I hope some combination of pickup rings (wooden of course) and a black burst under them will solve this (never saw a burst around pickup cavities). Actually maybe plastic rings will poplar veneer to match the black burst..? Will have to see.
  6. so our best friend "template slip" visited me a few days ago and this happened: I ate 2-3 mm into the body, not sure if I'll be able to patch it without the repair being visible. I lookes if I can get another nice poplar veneer sheet to just replace the top but can't seem to find a decent one. Maybe I'll be able to patch something together from scraps. Then there's always the pickup ring option .. we'll see. Before that happened I had a side project using an off-cut of the maple top from the bass that I'm building now:
  7. sorry to disappoint nothing special here in terms of electronics .. HH and maybe 3-way or 5-way blade Schaller, vol+tone. The cavity is actually the same template I've been using on most of my builds, maybe the body shape shrank a bit making it appear bigger.. It does have some room overhead though, I can (and have) fit a piezo preamp and bettery in there easily. The bass is another story - in a moment of clarity I routed the control cavity using the template for the ledge for the cover .. so now my stanard cover falls to the bottom of the cavity. Not sure yet if I'll be doing a new cover template pair or I'll try to glue something inside and route the proper shape in that... I have at some point to decide what kind of electronics system I want for the bass, I have nearly zero experience in that topic. Leaning towards something based on a passive J-type pickup arrangement.
  8. this fingerboard is seriously pretty with the dark pearl against the black
  9. Pretty!! I'm wondering if there's a way can utilize this funny flame-quilt figure in some way... Wood like this would make an awesome one-piece neck IMO. I wonder what's gonna happen when you carve the top.
  10. Super clean indeed, but also I'm loving the in-progress pics. Shows some of the woodwork that happens before these crazy-clean beauties materialize :)
  11. OK I think I've finally figured out how I want to arrange the lines and surfaces at the heel: I'm leaving it at this, with possible small tweaks and of course cleanup. So next up was the humbucker rout. A simple thing that I keep having issues with for some reason. No matter how many master and master-master templates I make, with the next guitar I always have problems getting the pickup to fit in. I guess I need to do some work on the templates again, but right now I'm at the point where the bridge pickup goes in ok. And this is as much as I want since the plan is to assemble the guitar and play it a little. Since in this guitar I'm prototyping several things that might end up as a regular feature on my builds I want to check the ergonomics. So I'm assembling a functioning "wiring" - the pickup and the output jack: So here's the guitar in it's assembled state: I put some masking tape here and there to protect the body, plus I put a single coat of tru-oil on the neck so that I don't get it unnecessarily dirty when playing. The neck will be finished in tru-oil down the road anyway. I'm really liking how the neck transitions into the upper horn - that's where the thumb ends up for most playing in the highest positions. I'm beginning to think that this is one of the most important details for upper fret playing ergonomics, keeping the thumb stretched back as little as possible.
  12. hah that's one way to do the bevels. Turned out great! (lol we have the whatsapp smileys now?)
  13. Tiny update. I've been working on the neck profile for the poplar-top guitar and also on the heel transition. I'm following the same logic here - start with a trapeze at the nut, then follow the shape to the heel keeping the width of the flat horizontal part constant and keeping the angle of the treble side slope constant, The angle and width of the bass-side slope is changing following this. Early version: Later version: Still not there, but getting closer.
  14. interesting, thanks. indeed the prices and selection are promising. Not sure how much shipping to Europe would be, but it never hurts to have another supplier on the list
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