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Andyjr1515

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Everything posted by Andyjr1515

  1. And that means remembering all of the quirky acoustic things. Like the fact that a straight line taper to the sides: ..would result in a 'v'shaped back: and so the sides have to be shaped something like this: So that's what I've done: ...before getting out the dreaded bending iron: Basically, if I break the sides, it's all off but if I don't, we have a new project!
  2. Hi Over the years, I have accumulated a fair bit of excess wood. Generally pieces where I've thought 'Ooo - that looks nice. Might be able to use it!' and also where I've over ordered for a project 'just in case' and ended up with stuff left over. And the trouble is that commissioned builds tend to need specific woods that the commissioner wants. So, in that I have a bit of a welcome break (other than a re-body of a Cort Curbow coming up) I had a root around and found this: It's a spare bit of lacewood (London Plane tree, specifically) that I bought as a spare set in case I snapped anything in making Chris's dreadnought acoustic a couple of years back: And I've got a few offcuts of neck wood including a mahogany set and a maple set. And an offcut of Macassar ebony for a fretboard, just long enough for an acoustic: And I don't have a dreadnought myself so... ...unless I snap the sides trying to bend them, I'm going to build myself a bitsa dreadnought
  3. I find coping saws tough to use at the best of times. I can feel the scuffed knuckles from here! Great result, though
  4. Not at all sure I understand what it is you are planning here. I shall wait in eager anticipation - I'm sure all will be revealed in due course
  5. I've never knowingly seen hemlock. Quite a dramatic grain pattern! I like the spec. What scale ranges are you aiming for ?
  6. Very sorry to hear about Mrs charisjapan 's fall. Must have been very worrying at the time - glad she's on the mend I really like that router box. I may well steal the design! The quality of that chambering is super
  7. Set-Up and Use of the Guitars & Woods (G&W) Fretboard Miter Box 1. Introduction The guide will cover: An overview of how the miter box is used Obtaining a square initial datum (generally needed for first use only) Mounting the unit on a bench or board Setting the blade width (generally needed for first use only, unless a different saw is subsequently used) Setting the height of cut (done for each new blank fretboard) Locking the above settings, ready for fret slotting (done for each new blank fretboard) Preparing the fretboard for use in the miter box Positioning and attaching the fretboard to the Fretscale Template Locating correctly the fretboard / template assembly into the miter box Clamping, or otherwise securing, the fretboard / template assembly in the miter box ready for sawing Indexing the fretboard / template assembly ready for the next slot to be cut Removing the slotted fretboard from the template 2. Parts   3. Overview - Principles of Operation It can sometimes be a little overwhelming diving into the detail before you are familiar with the equipment. So, as a very broad overview – and referring to the Parts photographs in Section 1, this is how it works: The miter box keeps the fretsaw blade square, perpendicular and firmly in position. The saw, when cutting, rides smoothly between eight ball bearings fitted in the Guide Bearing Brackets (3) The fretboard is secured to the Fretscale Template (9) with double-sided tape This fretboard / template assembly is placed into the miter box and the Locating Pin (2) is engaged into a slot on the Fretscale Template (10 &11) note: the G&W Miter Box is available with two different baseplate widths enabling fret slotting on wider fretboards, such as those for 8-string guitars or 6-string basses. Fret scale templates are designed primarily for use with the narrower baseplate and benefit from a shim sized to the gap created by a wider base plate. The fretboard is now in position ready for the fret slot to be cut The fretboard / template assembly is clamped, or otherwise secured, in position and sawing can start When the saw spine reaches the top bearings, the cut is complete and the spine (12) runs smoothly on the top four bearings - the saw cannot go any deeper than it has been set The fretboard clamps (or other methods of securing) are released and the fretboard / template assembly is lifted off the locating pin and slid along until the next Template Locating Slot (10) is reached and the assembly locks down over the locating pin in the next position. The fretboard is now in the correct position for the next slot to be cut A short amount of time trying out the equipment will make the above very quickly and easily understood. It is strongly recommended that you try out the miter box with some scrap wood to familiarise yourself with its operation and features before using it on a piece of fretboard wood intended for use in a guitar or bass build.   4. Setting Up the Miter Box for Use 4.1 Ensuring the miter box is squared up This will usually only need to be done once, before the first use of the miter box Loosen the Side Piece Adjustment Screws (7) with the supplied Allen key just enough to allow the side pieces to slide in their slots when pushed Place the end of the box nearest to the Locating Pin (2) upright on a flat surface: Push the two lower Side Pieces (6) downwards until they are flat and level with the end of the Base Plate (1) While holding the Side Pieces flat against the surface, tighten the six Side Piece Adjustment Screws (7) The Locating Pin side of the miter box is now squared up and you are ready for the next step of the set up 4.2 Setting the fretsaw blade width This will usually only need to be done once, before the first use of the miter box, unless a different saw is subsequently used. As supplied, the Guide Bearing Brackets (3) will be loose. If they do not move at all in their slots, ensure that the Guide Bearing Bracket Locking Screws (5) are slackened - using the supplied smaller Allen key - just sufficiently for the brackets to move Referring to step 4.1 above, you will now be pushing the two remaining loose Side Pieces (6) firmly against the fretsaw blade. Insert the fretsaw between the two sets of bearings. Push each of the loose Side Pieces (6) firmly against the saw blade and tighten the relevant Side Piece Adjustment Screws (7) This operation should be carried out with the fret saw in place; the tool has been omitted for visual clarity Ensure that the saw can move freely between the bearings. The blade will now be both square and perpendicular to the miter box base and sides   5. Using the Miter Box 5.1 Mounting the miter box to workbench or board Although it is possible to use the miter box as it is, it is strongly recommended that the box is securely screwed to the workbench or a flat plank or board using the screw holes (8) provided in the base plate Tip - The miter box can be mounted either way round. Mount it so that the main cutting force of the saw blade is pulling the fretboard and template into the side containing the Locating Pin (2). For a pull blade, that will be having the Locating Pin nearest to you and for a push blade having the Locating Pin away from you: 5.2 Mounting the fretboard blank onto the Scale Template Please Note that the following guidelines assume a rectangular fretboard blank. For a tapered blank, refer also to the Section 7 covering some variations Ensure that one side of the fretboard has a flat and square edge. This will be the side that lines up with the Fret Scale Template (9) Tip – If the Fret Scale Template (9) is attached with the scale length showing at the back, it will be easier to ensure that the correct scale length of the two options is being used: Before adding any double sided tape, lay the Fret Scale Template (9) in the mitre box and engage Locating Pin (2) into the nut-end slot in the template. Lay the fretboard blank onto the Fretscale Template(6) and position the fretboard so that the saw position will be at the required distance from the end of the fretboard. Note the position: Using three or four narrow strips of double sided tape, stick the fretboard blank onto the Fret Scale Template (9) in position and taking care the straight edge of the fretboard is lined up exactly with the Fret Scale Template edge: 5.3 Setting Cut Depth There are a number of methods for doing this. This is one method: Raise the Guide Bearing Brackets (3) using the Adjustment Screws (4) Place the fretboard/template assembly into the miter box and put the saw into the bearing guides, inserting it from the side but taking care not to pass the cutting teeth through the small gap between the bearings. Rest the spine of the saw on the top four bearings: Use the Height Adjustment Screws (4) to lower the blade until it is just touching the fretboard. Ensure that both bearings each side of the fretsaw spine are at the same height. Lift the fretsaw clear of the fretboard and remove it. Remove also the fretboard /template assembly. Using a steel rule or vernier, lower each of the four bearing brackets by the depth of cut required: Reinsert saw - ensuring that the bearings are in contact with the saw blade - and tighten the eight Guide Bearing Bracket Locking Screws (5) with the supplied Allen key to clamp the brackets in place. Do not overtighten! Tip – with slight sidewards pressure against the blade, first tighten the brackets on the left, then push each of the right-hand brackets up to the saw blade and tighten those. This should ensure all four bearings one each side are making contact with the blade Ensure that the saw blade runs freely, that there are no gaps between the blade and the four pairs of bearings. You are now ready to start slotting! 5.4 Clamping and Slotting Remove the saw blade and lift the fretboard / template assembly into place. ENSURE THAT THE EDGE OF THE FRETBOARD / TEMPLATE IS TIGHT AGAINST THE SIDE PIECES (6) AND THAT THE LOCATING PIN IS ENGAGED IN THE TEMPLATE SLOT It is strongly recommended that the fretboard is either clamped - or held tight against the side pieces with some scrap wooden wedge strip - so that the fretboard does not move during cutting: Carefully insert the sawblade and cut the slot until the fret saw's spine is running freely on the top bearings Remove the sawblade, unclamp and lift the fretboard / template assembly a little to disengage the Location Pin Slide the fretboard / template assembly along until the next slot on the template drops over the locating pin Check again that the edge of the fretboard and template are firmly butted up to the side pieces of the miter box Re-clamp or wedge, re-insert sawblade and cut the next slot. When finished, use a thin long knife, thin cabinet scraper or kitchen spatula to gently separate the fretboard from the template. Do not try to pull it off – a slotted fretboard is liable to break! 6. Is this all too much? Fear Not! The above guidance is necessarily detailed. With a decent familiarity of what you are doing and a knowledge of the important steps – which this guide seeks to help you with - the reality is that it should take : Less than ½ hour to do the initial squaring up and setting up – this will not normally need doing again Less than ¼ hour to attach the fretboard to the template and set the cutting height ½ hour to cut 24 accurate fret slots 7. And finally, some variations The fretboard does not have to be rectangular – it could be tapered. The template will still need to closely butt up to the locating pin and miter sides. Here, however, it is even more important to find a way of securely clamping the fretboard to the template to prevent movement while the fretboard is being sawn. The optional wide Base Plate (1) that can be used for wider fretboards. With good clamping, the wide variant can be used for any fretboard. The photographs in this guide are using the wider Base Plate.
  8. By the power of a really rubbish hack with Photoshop, a scaled mock-up of the finished bass against other members of its lightweight family: Left to Right: Pete's piccolo bass; my Swift Lite; Jane's Nyhavn Swift; Neil's Swift Lite Bass 5lbs 6oz; 5lbs 12oz; 5lbs 3oz; 6lbs 6oz respectively Delivered it to Neil last night - he's VERY pleased with it
  9. Yes - the first pic looks very good. And the second pic looks even better
  10. (that's what sitting in stunned silence sounds like )
  11. Let us all know how you get on. If it works OK, I'll gleefully and shamelessly steal your ideas for my Mark 2
  12. Knob looks good. Ref the pickup, what's the top to bottom string spacing at the pickup position?
  13. All of this stuff is far from easy measured and done manually. You are doing a great job!
  14. Gosh... Clearly you haven't been listening to MrsAndyjr1515 who says that the only thing that Andyjr1515 understands is criticism and /or physical abuse. I'm quite disorientated....
  15. Just two more small jobs to do - fitting the strap buttons and soldering up the three pots. In the meantime - as we have had an unprecedented and very welcome stretch of sunny days (yes - really!) and actually slightly overcast is easier for me to take natural light photos, I've taken advantage of some light cloud to take the arty-f**ty shots Here we go:
  16. Hi again I've been very pleased with the jig I made, although - to be honest - it needs probably a version 2 to iron out the things I've learnt along the way - and in the meantime Carlos at Guitars and Woods in Portugal has brought out a metal one of similar design that I am sorely tempted to buy as an alternative. Anyway - for what it's worth - this is what I designed and built. I say I designed - I looked at what other people did (G&W's didn't exist at the time) and took what I thought to be the best bits of each: As you can see, it's fairly simple: Roller-bearing carriage that the router fixes to A simple frame with replaceable radiused ends for the carriage to traverse The frame itself sits on a flat, melamine-topped board (an old IKEA shelf) that has a couple of binding strips as guides Originally, I arranged it so I could either fix the radial position and traverse lengthways as an option to routing widthways and then traversing in steps along the length: In use, I found it much easier to do the latter and as such, the above was an unnecessary complication. General issues in the design (and this I would think applies also to the G&W product): The radius you cut is, of course, the radius that the end of the router bit is running at. The radius cut for the bearings to run on needs to be adjusted accordingly. In my case, the bit end is 1" lower than the bottom of the carriage bearings - therefore I use an 11" radius template to cut a 10" radius fretboard This makes the packing under the fretboard (which, of course needs to be flat, stable and capable of being fixed with double sided tape) to end up at the correct height quite challenging. If all your fretboards are the same thickness, then this becomes more straightforward by just thicknessing a suitable single supporting beam The further the bit protrudes, the less width of fretboard will the router bit cut. I originally thought - ahaa! I can cut any radius just by extending or retracting the router bit. And yes you can - but the physical width and height of the jig rapidly increases and you end up with a very large rig indeed (witnessed by many of the internet designs) Finding the centre-point of the radius and lining up the fretboard EXACTLY to this position is critical for getting the radius even and 'square' You have to be careful as you come to the end of the board - it is very easy for the bit to ping off the final edge Like G&W's comment about their own product - you still need to finish off with a radius block. But, even so, to do a fretboard now takes me 3/4hr max - and it used to take me days with some woods. Remind me NEVER to try and hand sand a cocobolo board ever again! Why would I consider buying the G&W product - I think the set up accuracy can probably be made more accurately than my creaky, wood-screw affair and the two template ends will be smooth and equal - which my plywood ends are not. However, the packing height issue, the centre-line accuracy, the need for rig set up setting accuracy, the need to finish off with a block, the need to guide it lengthways, etc would be all the same. Hope this helps!
  17. I'll drop some details on in the morning
  18. Have spent most of the day on this and so, so, so nearly finished...but knackered, so the final 3 smallish jobs will have to wait until tomorrow Cleaned up and finished the fretboard and levelled and crowned the frets: Then installed the pickups (taking great care not to screw the fixing screws all the way through the slim back! And shielded the control chamber and strung it up to check the action and intonation ranges. Electrics are all in and shielded but not yet wired up (a simple master vol, blend and master tone) and I still have to install the magnets for the truss rod and control chamber covers. Tomorrow morning should see this fully finished. Here's a sneak preview:
  19. I'm a bit late to the party on this. Great looking neck woods! I was interested to see your experience with the safe-t-planer. I have a pro builder friend who uses one for hesdstock plates and swears by them. Personally, they scare the willies out of me! Good call to opt for a slotted board first off - the learning curve is steep enough as it is and the main objective for a first build is a successful result. Watching with interest and yes, you deserved that ice-cream
  20. The finishing is pretty much done and will harden over the coming week. During that time I will do the magnets for the covers, the fret dressing and electrics. While I've had issues in the past with the gloss version, the satin version of Osmo Polyx is super easy to apply (wiped on with a lint free cloth) and produces a very pleasing finish very quickly. Once it's fully hardened, it is also very tough. Here's how it's looking:
  21. That's very nice routing! I would never have thought of that type of bit, although as you say, I suspect the trick is getting the speed right... By the way, shows true craftsmanship when the hidden features are as neat as the visible ones. Respect!
  22. Again, tremendously detailed run through of your technique, @ScottR Very generous and much appreciated And what results!
  23. The egg white was another 'classical guitar builders used to' product. I reckon traditional classical guitar builders have a lot to answer for It was OK, I suppose, but it was probably only used by some guy in a remote Spanish village centuries ago because the only things readily available for anything were chickens. I'm told beaks make great picks, by the way. Must try it sometime...
  24. With a morning's sanding, the bridge is now flush: ...and the body is ready for finishing: There was a feature in the wood that reminded me of a bird's wing shape. Not entirely sure it works, but I emulated that with the fretboard end carve: Unless I'm sensitive about colour, I generally now use the tru-oil slurry and wipe for all of my initial sealing and grain fill, regardless of the final finish (in this case Osmo Polyx Satin. Here it is after the first couple of slurries:
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