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Everything posted by Bizman62

  1. I suppose they wouldn't stand the downward pressure of the strings. Aluminium is pretty soft, even so soft you can use woodworking tools on it if you're careful. Making the base for the sliders should be doable if you have a circular saw with adjustable speed. Make a fence or two to guide the saw and run shallow passes. A router should also work in a similar manner. Both can be handheld or table versions. If you want to play it safe, let a machine shop do it for you with tools dedicated to the task. The brass pieces could be made out of a brass bar, hand tools should suffice. I
  2. Logically thinking anything that evaporates does it faster when the temperature raises. @Drak already mentioned viscosity, which means the paint itself is more fluid when warm. Wasn't it you who mentioned keeping rattle cans in hot water to make the stuff come out the nozzle more easily and evenly? However, heating doesn't make paint any thinner, it just makes it more fluid. A thinning solvent is what makes cold paint more viscous which is why you should use it more in cold conditions. Thinking about pitch may help figuring or remembering this: As such it's solid to the point you ca
  3. That's not an excuse! Age is just numbers... Or maybe I'll change my mind during the next winter? As for rigor, it fluctuates. I didn't know the word before, then I connected it to 'mortis' which is a pair of words I know the meaning of. Even that is temporary.
  4. In that case I recommend the 610 mm lengths from Madinter. Easy to bend to the desired radius and only two offcuts.
  5. I just saw one, and the guy already had grey hair so he wasn't a newbie. And 'inches' in his case was exaggerating the distance! A quarter or half at the max both on the circular table saw and the table router! Scary as hell!
  6. Why settle on mediocre when you can do perfect? There's two things for me to learn! Thanks for the heating tip, it totally makes sense. Hammering the posts in seems to squeeze out some sort of resin from the wood cells and after a while it hardens and glues the post in. Had I known the heating trick when I built the semi-hollow with the Ovangkol top...
  7. No, basically just double checking that the fret wire sits tight at the edges and the center has some clearance underneath. The pre-cut pieces aren't too easy to be rebent properly which is why I prefer longer pieces. Then again, calculating the right amount of wire cut to five inch pieces can be challenging (don't ask...) as the combined amount should suffice but you can't join the leftover pieces to fill the last empty slot. The 1 kg roll I bought years ago was basically a good deal but I should've taken the wider wire - nothing wrong with the 'vintage style' narrow plus you get a longer str
  8. A very important lesson indeed! Get the next tighter radius fret wire or bend it yourself, R10 for a 12" radius fretboard and so on.
  9. Yet another argument in the everlasting pondering the order of building. Pro: the pins are outside the finished neck; Con: you can use neither the fretboard nor the neck blank as a guide for a bearing router bit.
  10. Exactly that, I just wasn't sure about the spelling of 'eeeeoooowww' so I typed 'twang' instead.
  11. Your long clamps - the pair of 2x2's with a lot of holes - look interesting! How do you tighten them? It took me this long to figure out that the plastic bag with the text 'Bulbond' isn't your favourite candy!
  12. There's basically no other rule than to make them low enough not to touch the strings. If you want to make them tougher and less prone to warping, you can laminate them of two or more pieces so that the grain direction of at least one piece is across the main grain direction.
  13. I couldn't hear any difference between the fret materials. Before having read the entire chapter I was thinking about the flesh effect which you then explained and proceeded "in flesh", the most natural way. The 'string length behind the nut' test seemed to have a bit more difference, the second notes in each pair sounded more accurate right from the start. The long slack had more 'twang' if I'm using the right term here - the sound seems to gather speed before getting to the right pitch. To me it sounds richer which may work well for a solo player but the tighter sound may be better in a
  14. It's been said that when you're searching for a brilliant idea you should write down every single idea you get, no matter how foolish they seem to be. One of the silliest may become the golden one with just some fine tuning. But if you ditch it right when it pops into your mind, it may be lost forever. For me there's a couple favourites in your sketches, a couple of too obvious ones and a couple that look forced. And there's one that inspired me to create yet another H, and yet another, just to visualize the ideas. Many of your H's seem to have an oriental twist, reminiscent to the Yin-Y
  15. So many ways just to draw an H! No wonder your guitars look more visionary than mine!
  16. 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.
  17. 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!
  18. 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.
  19. 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
  20. That's a nice clean cut, so obviously your tools are sharp. Much less stitches needed! Did you use super glue on that?
  21. 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.
  22. 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.
  23. 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.
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