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Everything posted by Bizman62

  1. So many ways just to draw an H! No wonder your guitars look more visionary than mine!
  2. Aside the abovementioned tricks, spreading some salt on the glue can help. As for the horn nut, Jerry Rosa builds deer antler nuts and saddles and prefers them over bone.
  3. Just for clarification, this is a real size guitar, isn't it? The jumbo knit background makes it look like a brooch on a pullover!
  4. Based on a source I know well I know for sure that not all of them do that
  5. That's very true. There's the magic words "single piece". A laminated block isn't a single piece when you think about grain direction. Although the laminates basically usually are aligned by the grain direction, there's minor variations so instead of a single growth ring there's many of them, not to mention the film of glue which has no direction, between each veneer. Really, the invisible layer of glue really solidifies the structure! Your plans for the scarf joint look OK.
  6. I don't know about band saw tpm's but I guess for guitar building you won't need a rough cutting log blade. Before running to the shop I'd learn the basics in making the saw do its best no matter what blade you have. There's several guides, both videos and illustrated sites. This seems to tell you quite a lot: https://www.woodmagazine.com/woodworking-tools/reviews/band-saws/bandsaw-tune-up and this one may tell something more: https://www.highlandwoodworking.com/how-to-adjust-a-bandsaw-blade.aspx
  7. That's a nice clean cut, so obviously your tools are sharp. Much less stitches needed! Did you use super glue on that?
  8. A thin blade is ideal for curves, a wide for cutting straight. That said, the workshop saw only has a 10 mm blade or something like that and it can cut full width/length veneers of a fretboard blank! So it's also much about adjusting and the quality of the blade.
  9. I've always used method#3 with laminated necks/headstocks, both with neck-thrus and bolt-on/set necks: I simply cut the excess off. The laminated headstock angle is most likely the strongest construction of the three.
  10. Sugar is natural energy for moving people! as the slogan of our local sugar company used to say. And there's sugar everywhere! Not necessarily in it's purified form but still. Chew some grains directly from the ears. After a while they start to taste sweet as the enzymes in your saliva turn the starch into sugar. Fortunately the process can be sort or reversed: Cook the grain, add some yeast and let it eat the sugar! If you're worried about germs, you can distillate the result...
  11. There's a couple of issues with too much glue, none of which is critical. First, you'll have to use more clamping power to squeeze the excess glue out, which leads to second, there's a lot of squeeze-out to clean. And third, a pool of glue makes the wood strips surf on the waves rather than stay aligned.
  12. Improvisation is important both in your playing and building. Just recently I saw a video about woodworking without clamps! There seems to be a ton of them if you search, I just stumbled upon one. Anyhow, rails, ropes, wedges and bolts can be your best friends. Like, how about this type of "tool" to keep your neck steady while working on the headstock?:
  13. Actually that might be for the better! Based on what can be seen from that angle it looks like the entire headstock could be pulled apart right past the nut so you can clean all glue residues and such easily. Splintered wood would be much more difficult to rejoin. Speaking about jigs, a simple one is to deattach the tuners and use the tuner holes to attach the headstock to a piece of wood. A correct angle would further improve the jig. That would help clamping or binding the joint a lot. And yes, I said binding in purpose. Sometimes a length of bungee cord is much more versatile than clum
  14. The rule of thumb with bent wood is, if you can pinch the joint shut between your thumb and forefinger, you can glue it. If not, it will cause issues. Also, if the piece of wood is bent because it has been laying on a flat surface without any airflow from underneath, turning it upside down on that same surface may slowly bend it back.
  15. Wow, I've never seen a finger jointed headstock before! It looks like the entire joint has failed, which makes me wonder what type of glue they've used. Definitely not Titebond original, that's for sure! I've seen urethane glue snap because of shock, entire fingerboards just popped off, so that might be your issue as well. Opening the entire joint, cleaning and regluing might be the only option for longevity. Clamping that joint requires some creativity. I'd put clamps both on the neck and the headstock, outside the joint, and then use two more clamps to pull them together. And
  16. The metal used is softer than steel so drilling a couple of holes and tapping it shouldn't be too difficult. That said, the only issue I've had with a loose bridge was with a cheap one with long holes and adjusting grub-screws at either end of the holes. The holes are long enough to fit almost two posts so plenty of adjusment range past the individual bridge pieces. I can't understand why... Anyhow, due to poor machining one of the screws fell off and got lost and because of that the intonation changed when the bridge moved. If you put just one single round of copper tape on the pole
  17. Gotoh is known for their reasonably priced quality hardware so you might be better off asking them directly. Some play in the holes might be planned just to get the bridge on the posts as they sometimes can be a bit off or slanted. You really can't tell until you've seated the posts... The Gotoh site says R300 in the drawing which I understand means millimetres. 300 mm is appr. 12" so either you've got a wrong product or your measuring is off.
  18. I'm using good old Windows Paint. Quick and dirty. For designing I use a pencil. That's hardware, I suppose...
  19. The right place is where the body ends and the neck starts. Speaking about the Fendery style, you aren't limited to a thick fretboard. In fact, Fender fretboards are quite thin compared to many others. That can be considered a variation of the neck break angle as well, in this case the angle would be zero. Here's illustrating what I mean, hopefully making sense:
  20. Option #2 would give you the most space for strumming. On a neck through the neck break angle is pretty straightforward to cut. You can draw it directly on the side of the neck blank! Like so: you draw your string line which is about 2 mm above the fretboard. You'll have to imagine that as it's in the air... you sum the thickness of the frets, the fretboard and the clearance between the strings and frets and draw another line which will be along the blank you measure the height of your bridge you draw a line from the neck break to the bottom of the bridge
  21. She may be right, she may be wrong. Sometimes it's the tiniest little change that either makes a decent looking guitar or something that makes you oooh and aaah.
  22. There might, just might be the profile folder of the previous version as well. They don't easily get deleted unless you really want to.
  23. Whoops... Well, actually I've used the masks to protect my customers from getting Covid from me when I visit their homes to fix their computers. At one point there was some talk about requiring FFP2 instead of the surgical looking masks so I placed an order for those.
  24. A five piece laminate is plenty strong for a six string guitar. I've made a few laminated neck-thru guitars - from three wide pieces to 9 piece ones with 0.55 mm veneers between thicker ones. The glue acts as a stiffener as it doesn't flex up and down. A truss rod for fine tuning the release is recommended, I guess you've already planned to use one.
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