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Bizman62

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Bizman62 last won the day on October 7

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About Bizman62

  • Birthday May 29

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    Joensuu, North Karelia
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    Removing sawdust to reveal a guitar-ish item.

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  1. Three quarters of a year gone and you're the first one to notice that! Unfortunately I can't edit that post any longer. But you're right, nut slotting is what the feeler gauge set is for.
  2. Many people prefer an oiled neck over a lacquered one. Shiny lacquer can feel sticky when your palms sweat. One trick is to make a shiny neck matte with 1000 grit wet'n'dry or steel wool for a similar feel but oiled and waxed is still slicker. Again, oil. TruOil and the likes work fine, they all are a mix of oil, turpentine and lacquer so they when applied several times you'll eventually fill the pores for a mirror finish. But you can stop at any stage when you think the look and feel are what you like. Oil finishing is a wipe on method and there's a couple of things to know. The main rule is to rub the oil in vigorously until it becomes tacky, then wipe it all off with a clean towel. After some 10 minutes some more oil will sweat out and you'll have to wipe that off as well. Oil on the surface will never dry! Let dry and repeat the next day. The first layer or three take the most oil until the wood is saturated, the following coats are for pore filling. After a few coats you can even use fine steel wool, nylon abrasive or wet'n'dry sandpaper with the oil to create a slurry to faster fill the pores, then go back to plain oil. Finally you can buff the surface for a more or less satin sheen. If you level all the pores and grain you can even buff it to a gloss. But as I understood you'd rather get a bit more organic surface, more like "it's shiny but there doesn't seem to be anything on the wood".
  3. That's true. There's ways to go around that although 2 mm is even on the thicker side. I just took a look of trapezoid MOP inlay pieces, the widest was 43 mm across the fretboard and only 1.5 mm thick. I suppose your inlays are about 15 mm long/wide across the radius? No matter what, I did the math with a 12" (300 mm) radius at the widest end of the fretboard. As a 4 string bass fretboard is 40 to 60 mm wide, half of the max width is 30 mm. Thus Y (being in this case the "quarter line") would be 0.375 mm at the most and 0.3 mm at the least. Since your inlays are narrower than half of the fretboard you'd have to put about 0.1 mm more glue at either end of the inlay pieces to fill the gap in a radius bottom cavity. That's the approximate thickness of a human hair.
  4. No, I sold most of them to my builder buddies and kept only two. But I do have four different grits on the narrow sides. The broad sides aren't level and having two different grits meet at the corner could cause issues. It's always safer to run a smooth face against something you don't want to scratch or shape.
  5. Stories, meat behind the builds, mixing and matching what you've learned and done at work to guitar building...
  6. Now that you put that in words, this build has turned out to be one my favourites to view. Nothing wrong with a well built Tele or LP, on the contrary. However this one has features that make my fingers tickle!
  7. 2 mm is plenty especially if you put them in after radiusing. At some point I did some math which I later transformed into a formula for comparing the radius to the edge to edge straight line, i.e. how much higher the center of the fretboard is. Note that if you're going to put the drops on the side of the fretboard like in your previous build you can halve the width of the fretboard as you'd only need to know the height difference on that area. Even further, you can just calculate by the length/width of the inlay pieces as they're the only things affected. Thus W could be either the size of your inlay or half of the fretboard. And Y will tell you the depth of the inlay carve when the inlay goes to zero at the ends. So if Y is less than 2 mm then 2-Y=the thickness of the inlay material after sanding the inlay flush with the radius.
  8. Now please help a non-English speaker here: Are we discussing the best glue to stick that wooden plate on the bobbin or the best glue to stick the turquoise dots on the polepieces? Or/and maybe gluing the sides of the turquoise dots to the wooden plate? Which are apples and which are oranges and are there peaches involved?
  9. For Tele pickups both the traditional flatwork and molded single piece plastic bobbins are available. The latter are much easier to use since the pole pieces will be inside insulating tubes - that enables even swapping pole pieces as you don't have to worry about damaging the coil when pushing a pole in. The flatwork of traditionally made pickups is vulcanized fibre i.e. heat treated compressed cellulose. It belongs to the plastic family but isn't plastic like Tupperware. Carving a smidgeon and burning it should reveal the material by smell. Even burned vulcanized fibre is dangerous emission free so it should smell like burning paper or cotton cloth. Burning plastic on the other hand has that dark oily toxic aroma...
  10. I'm a bit late to understand that you actually wanted to get the wooden part to the plastic bobbin... As has been said epoxy is a good choice and CA should also work. And then there's ZAP/Pacer Formula 560 Canopy Glue which is designed to glue plastic to wood... It's available everywhere from Amazon to Walmart so it's not difficult to find. It's good for plastic bindings as well. And you can wipe the excess off with a damp towel when wet.
  11. Instead of "for sure" I'd say "most likely". Getting the action just right from the bottom is tedious and hazardous. Just think about loosening all of your strings a dozen time, pulling the nut off, filing the bottom and putting the nut back in and tightening the action again for every string! And if one end is perfect and the other too high, filing a tiny wedge off yet keeping the bottom of the nut perfectly flat isn't easy to say the very least... There's always something positive to say about most everything. In this case, if you take too much off from the bottom you can fix it with a shim - which of course requires more or less more trimming! If the nut is hugely oversize, I'd recommend putting it in place and stringing the guitar, then measuring the action. A flatpick is a good tool for measuring the action, simply slide it on the first fretwire under at least both of the E strings. On my guitars a 1 mm Nylon JimDunlop lifts the string while a 0.88 mm one fits snugly. If you use that method "calibrate" your measuring picks on a known well playing guitar first! Anyhow, if your desired action is below 1 mm but your current action is over 2 mm it's safe to take the extra 1 mm off from the bottom and you should still have your action a hair too high. That's when you start filing the grooves for fine tuning the action. Compared to removing the nut it's much easier to loosen a string about a full note and slide it to the next groove out of the way when you file a couple of strokes, then slide it back for checking the action. Rinsing and repeating until you're satisfied. A hint for marking a thin parallel line on materials like Tusq or bone where pencil won't stick or show: Take a sharpie and mask the area where you want the line to be drawn. Then take your caliper and adjust and tighten the screw for the desired amount to be cut off. Run the other external jaw of the caliper along the bottom edge of your nut and scrape the Sharpie stain with the tip of the other jaw.
  12. If it's the one I found via Google, one with looong forks for the posts and depth adjusting screws the posts seemed to not be at an angle. With the bridge seated it seems there's an angle but it looks like the bass side fork is set back with the screw. Like so: Regarding the intonation line, the moveable pieces don't seem to be right along the post line in the pictures I've seen. To check it, simply adjust the pieces to about 3/4 towards the bridge and seat the pole screws to the bottoms of the forks, with the screwdriver slots aligned with the bridge. To me it looked a bit like that:
  13. You made me curious. First question is should the bottle be unopened or empty (an opened one would obviously spill beer all over the unprotected wood which even I understand wouldn't be ideal)? And more: Would a full bottle act similarly to a dead blow hammer? Would rounded glass be better than polished steel for tapping in the plastic rod? Is there a difference in how the glue reacts with the surface of the tool, potentially staining the wood? Or is there simply so much more surface on the bottle that you can turn a clean side for every hit? I will be disappointed if your answer is that it's required for the builder as instead of being about a tool it would be about lubricating the engine powering the tool.
  14. Once again it seems that English is a poor language in itself (or should I have said "per se"?)... No harm done as I don't practise my poor French on francophonic forums.
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