Jump to content
Voting in Guitar of the Month April 2024 is now open! ×

Bizman62

GOTM Winner
 View Profile  See their activity

  • Posts

    5,614

  • Joined

  • Last visited

  • Days Won

    172

 Content Type 

Everything posted by Bizman62

  1. Bizman62
    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 band.
  2. Bizman62
    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-Yang symbol. Is that coincidental or does it reflect your state of mind? Based on the balanced quality of your works I'd vote for the latter...
  3. Bizman62
    So many ways just to draw an H! No wonder your guitars look more visionary than mine!
  4. Bizman62
    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.
  5. Bizman62
    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!
  6. Bizman62
    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.
  7. Bizman62
    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
  8. Bizman62
    That's a nice clean cut, so obviously your tools are sharp. Much less stitches needed! Did you use super glue on that?
  9. Bizman62
    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.
  10. Bizman62
    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.
  11. Bizman62
    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. Bizman62
    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. Bizman62
    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 clumsy clamps.
  14. Bizman62
    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. Bizman62
    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 at least one right over the joint to shut the crack. For added stability I might even route a four inch (10 cm) channel across the crack and add a solid skunk stripe or two.
  16. Bizman62
    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, will the bridge still fit? If not, I'd call that tight enough. One reason for loose fitting is that most bridges are cast instead of machined out of a single block. The chrome plating process can add to the inaccuracy.
  17. Bizman62
    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. Bizman62
    I'm using good old Windows Paint. Quick and dirty. For designing I use a pencil. That's hardware, I suppose...
  19. Bizman62
    Congrats!
  20. Bizman62
    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:
  21. Bizman62
    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
  22. Bizman62
    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.
  23. Bizman62
    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.
  24. Bizman62
    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.
  25. Bizman62
    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.
×
×
  • Create New...