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Macarel31

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  1. I think you are right. The aim to use jig is to avoid sanding block. If after using the jig i must use anyway a sanding block at the right radius to level the inlays or to improve the surface's rugosity of the fretboard, it's not interesting. So I'm going on with the sanding blocks In addition, making a jig for making sanding blocs can be useful for all the reasons mentioned in the previous posts. Thank you!!
  2. this subject seems to be complicated. I find a post on this forum (subject When To Radius... in the forum inlay and finishing). it appears that it's possible to use this kind of jig (with router) with inlay already installed on the fretboard but with "simple" and small shapes such as round. Everybody isn't agree when the inlays are big, fine or have more complex shapes.
  3. Hi, yes, I thought about it but I may still need sanding block for the fretboard at the right radius after installing the inlays. I'm not sure that I can pass the fretboard on this jig twice.
  4. Hi everybody, i'm building my second guitar but unlike the first construction, i want to make the neck. After having studied the different steps of the neck's construction, I can not make a choice regarding the shaping of the fretboard's radius. There is two way to process; the sanding block or the jig (with a router). Using the sanding block is the simplest process and I think the most used. But there is a small problem which I was even confronted with, it's the imprecision of the sanding blocks. I bought one and it was a little twisted in the length. This can create inaccuracies in the radius of the fretboard. On the other hand, the second option requires the construction or purchase a jig, which is much more complex and expensive. There is a third option, this is to make it's own sanding block but this require the construction of a jig too. I would like to know if you can share your experiences with all of this. I feel like using aluminum sanding blocks is the best way, even though they are expensive. thank you for your help!!
  5. I have a question about electric guitar tops (Bookmatched tops). I want to make mine from a live edge and lumber dealer. However, I don't know if there are restrictions about the wood grain orientation (in the thickness) to avoid deformation even if it's glued to the guitar body. Thank you for you answers.
  6. I'm thinking like you Prostheta. I started to sand the oil finish completely, even if i have to sand the stain too. I don't mind doing it again. In addition, with the oil, the blue turned green. I will radically change the finish for this guitar. It will be a finish that does not yellow, so a water-based finish. The most annoying thing for me is knowing how deep to sand the wood to remove the oil. What will annoye me is to redo the pore sealing again. It was a unpleasent, long and dirty phase...
  7. yes, blue stain with raised grain by black wood filler...
  8. I can confirm what you says Bizman62. I can feel with my finger the little droplets. I'm also able to see them. The real question for me now is how to go back with this product?
  9. No, i didn't shake the oil I know that it's not recommended for polyurethane because it cause bubbles. What's the risk when it's not shaken well?
  10. Hi, the oil used is the "penetration oil finish" created and provided by Crimson Guitars". It was recommended to me by several amateur luthier. It look like tru-oil. I'm a litlle confused because between each coats, i waited many more time that specified by the recommandations (several days even if the recommandations specified 4 / 6 hours between coats). In addition, I was careful to remove all the oil excess until nothing appeared on the towels. I used the tru-oil on my neck. It's the same process and i didn't had this problem. Honestly, I'm not sure I want to reapply this product if I can go back. It look like that the product come froma bad batch. I contacted the provider and for the moment i have no answers.
  11. Hi, yes, for every coat i wipe all the excess when it became tacky. That's why i'm surprised that it's still sticky. Concerning the solvent. i mean apply the oil. The solvent contained in the oil dissolves the layer below. Then i can wipe off and remove some of the oil that does not dry out. I have heard about this method before for the same problem as me with Danish oil. I don't know if this can work with my case.
  12. Hi, i used an oil finish on my guitar and the three first coats goes well. I let dry several days between each coats. But since the fourth coat, after 15 days, the surface of the guitar stay sticky. I'm even be able to mark the finish just with little taps with the flat of my nails!!! Do I have to wait longer for drying (the last few weeks have been very wet), reapply oil and wipe off immediately (reactivate the solvent) or sand everything and start again? Thank you for your help!!! Best regards,
  13. Hello everybody, First, thank you for all your answers. I see that the subject has drifted on the accuracy of the terms. So to clarify, yes I am French but i live in Canada since 10 years. I am neither a luthier nor a woodworker. The terms that I use, I learned them by doing research on the internet. When i search on the internet "raising grain" or "enhanced grain", I found what I want. So I considered that these words are the right ones for that. I’m agree with you, in the internet, there is a lot of people that are using approximative terms but a deal with it. For example, after several weeks of research on internet, I don’t know the difference between the terms stain and dye… As people says, a picture is worth a thousand words, so please find here pictures that show that I want to do. But honestly, i’m sure that everybody here has already understand that I wanted to do. So i come back to the first subject of my post. First, I want to explain why this post and add some precisions. I prepared the wood with the following process: I sanded the wood with those successive grits: 180 / 220 / 320. Then I wetted the wood surface with a humid cloth, let it dry and sand with 320 grit. I did it a second time. Why I’m worried about water-based grain filler. First after several weeks of research about who to improve grain appearance, I founded a lot of different methods. Is the one I chose the right one? I don’t know. The second reason is that timber mart grain filler is a water-based grain filler. I want to dye after and I am afraid that the dye dissolves the dry grain filler (on the package there is specified that it’s possible to reconstitute the product by adding water). So, I preferred to ask before. I finally tried timber mart grain filler with back stain on a remaining piece of swamp ash and it work but… the grain filler smells horrible. it looks like burnt rubber of something like that. It’s surprising for a water-based product. Another thing that I saw, it’s that the timber mart grain filler is very compact and it take a lot of water to obtain a malleable paste. So, your answers seem to confirm that I choose a good way to obtain what I want. Thank you all.
  14. Hi, I'm starting the finish for my seamp ash guitar body and i want to raise the grain and dye after (blue). I will stain the wood filler with black before to apply to the wood. I want to know if there is a difference between using a water based woof filler (such as timber mart) or a latex wood filler? Did the process stay the same: wood filler first and dye after? thank you for your answers!!!
  15. Hi, i'm finishin my guitar body and i want to enhance the wood grain (swamp ash) with a black grain filler. After, i'll apply a blue dye. I made a lot od research about the preparation of the wood and most of the people sand the wood sucessively with 150, 180 and 220 grit. However, when i look the wood into the light i can see little scratches made by the 220 sand paper. Is this a problem? I already finished the neck and the sanding was with an higher range for the sand paper (600/800). thank you for your help.
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