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ADFinlayson

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Everything posted by ADFinlayson

  1. I do, but for continuity I should probably say 8/16th of a mm
  2. Thanks bud, sanding angles into the lams was pretty awkward around the headstock and heel because the act of sanding changes the line. It’s not as thick as that. The top was 1” before I bookmatched it, I think it was 9mm in the end and the walnut lams were 38mm by the time they were all glued up and jointed so over all it’s bit super thick in the middle. I am very pleased with it, just a bit annoyed about the sap wood. I’m in no rush to build from laminates again!
  3. I always finD the Gibson style pickup rings too TALL for my builds, I usually end up sticking some sandpaper to a flat surface and sanding the bottom of the rings until they're short enough.
  4. One thing I did when I was working on the new red one I've just finished, I used the router and thicknessing jig mentioned further back in the thread, but to get everything nice and flat for glueing, I stuck a roll of 80 grit paper to thick sheet of MDF (about 4 strips wide), then I turned the blank over and rubbed it up and down on the sand paper which flattened the whole thing evenly, I also did the same thing to the underside of the maple cap when I'd finished carving it. Both surfaces were fairly flat anyway, it was just to remove the router marks. But it works well and Ill use that "jig" in future.
  5. You can flatten a board on the planer thicknesser if you feed a cupped board, stuck on a straight board and wedge the under-side of the high spots, that will get the top flat, the flip it over to make the bottom parallel with the new level top. It's certainly not as efficient as a jointer, but it's good enough to get a 3/4" cap flat enough for glueing.
  6. you could have a 1/4" thick top and bevel the underside around the f-hole making it thin at the edges which makes it look thin and delicate without actually being delicate. There is a Crimson video on it, I followed similar principle with the f-hole for the 3.2 but I wish I went a bit thinner around the f-hole
  7. How are you thinking of doing the f-hole, is the diamond shape an inlay or a cut out? it could be quite delicate
  8. that ring looks awesome. When you mentioned custom ring for the neck before, I imagined something like this - makes me think of SGs
  9. It's all subjective obviously, but I like it all except for the pickguard - to me, it steels the thunder of that glorious f hole.
  10. I thought about a curve but I didn’t like the idea tbh. Not sure about unevenness, it’s possible but I started with a router and straight edge so I doubt it. The light source is to the left of the camera so it’s probs just a reflection. Got strings in tonight, pickups in, etc done a rough setup and truss rod adjustment. On to wiring next and figuring out where to put the strap buttons
  11. I should have mentioned in my first response, I don't add the 2mm either, because I like to keep the break angle as low as possible. That keeps my break angles vaguely around 2º which works with a wraparound style bridge providing the fretboard sits about 1mm above the body, gibson style guitars need a slightly larger break angle because the fretboard sits flush on the body (slightly lower). e.g - bridge height: 14mm - fretboard height: 6mm - fret height: 1mm - fretboard distance from body: 1mm 14mm - 8mm = 6mm so use a 6mm block of wood. This isn't an exact science so Crimson add the 2mm so they've got the adjustment room. But I prefer to tweak the angle of the bottom of the neck tenon if there is a problem with the break angle.
  12. The end is in sight.. cavities have all been painted with conductive paint. Got the fretwork finished tonight then a couple of coats of oil on the neck. Neck looks awesome hopefully I’ll have it assembled over the weekend.
  13. Oi I’ve used 1x4mm magnets in 2 builds, they’re perfect. They even fit the underside of a truss rod cover.
  14. Planing either side of the pickup cavity, the angle of the top around the cavity does affect the pickup because the ring sits on the top, if the top has a 2° angle the the pickup will too. If planing before routing then you would end up putting an angle into the cavity wall, but we are talking about insignificant amounts. If you were direct mounting though, that would be a good thing as the pickup is screwed to the base of the cavity which would want to be parrallel with the top.
  15. that's unfortunate, when I've done this I've used the cheapest crappiest saw from b&q but it has quite a wide kerf, which means wasting more wood but it stays true. If that gouge is right in the middle, could you get away with putting it on the top so the glue up hides it? I guess you could stick your body template on top, draw round it and see if it appears at the edges. Worst case scenario, you could make the body a bit thinner or put a contrasting veneer between the top and body woods.
  16. I think your glue up will be fine mate. If you don't decide to bind then ebony dust and superglue will hide any gaps. But I see you've got some nice flamed maple binding strips there. You mentioned that you're going to radius your fretboard, route binding and cut off neck excess neck. Make sure you do that in the right order. 1. cut the neck and route it flush with the fretboard. 2. Route your binding channel. 3. Radius the fretboard. If you route your binding channel first, you will no longer have the correct taper to route your neck to, if you radius first, you will not have a flat surface to site the router on or place on router table. Loving that palmwood, will look stunning with some finish on it
  17. You should plane the top to the back of the neck pickup route, that way the neck pickup sits parallel with the fretboard. Then I reduce the height of the block by half and plane again between the pickups pickup which puts in a bit of a gradient between the two pickups
  18. That sounds a lot more complicated than 10 mins with a hand plane though!
  19. The way I do this, is to plane in that angle along the top first then stick the neck pocket template to the top and route the pocket so the bottom of the pocket is parallel to the angle planed into the top. I really can’t see the powered planer is necessary - it takes all of 10 minutes to do it with a no7 hand plane, you can stop if you notice any tearout as it happens on figured wood, but it’s a done deal with a big planer like that.
  20. It's getting there slowly but surely. This is what it was looking like after several coats - Lots of bobbly unevenness. Instead of wet sanding with soapy water as I did on the last one, I've wet sanded with poly a few times then wiped off excess after a few mins, idea being that it's not always taking away Looks fairly dull once wiped off, no idea what the light patch is but the controls in this photo, it looks annoyingly different from every angle. After some more wet sanding and cutting.
  21. @RestorationAD thanks for sharing, I really like the sound of Arch/Matheos. Anyone that sounds like Bruce Dickinson gets a from me
  22. This is awesome @ScottR wish I saw this before staining the V. I used brown as a base layer on that (all waterbased) and it has worked better to highlight the figure with blue, however when I added a burst, there is the element of green which fortunately seems to work. I have got a good combo of chatoyance vs highlighted figure though. Interestingly my "artist grade" finish on my PRS although being super flamey, has absolutely no chatoyance.
  23. The extra 2mm is just so you've got a bit of adjustment. it adds a fraction of a degree to the overall break angle. I use this method on all of my carved top builds and never actually bother working out the break angles, it's a faultless method.
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