Bizman62

We're not replying, we rejuvenated.

Speaking about little half balls, the ones used under numerous little things and also as bumpers for cabinet doors also contain some sort of softener that can cause issues. One fool proof way to find out if a plastic product may react with wood or finish is smell. If the original package is a smelly, greasy bag, the contents most likely aren't any better quality. If there's no original package, sealing the thing into an alimentary grade plastic bag for overnight should reveal if there's any odour coming out of the product. As they say, there's no smoke without fire. Equally there's no smell without a cause which in plastics usually means a softener.

If you're talking the non slip/anti slip mats they sell for various purposes, I've been in the belief that they actually are made of PVC and that the plastic softeners are the cause of many issues. PVC folders are known to melt the text off photocopies and laser printings - not surprising since the "ink" is actually plastic powder fastened with heat.

The pickup rings certainly look nice with the open type humbuckers - plain chrome has a bit more 'finished' look by itself than the bare bobbins. Have you thought about rounding the edges of the rings to match the body shape?

Speaking of tabletops and context, look at this: https://www.boredpanda.com/miniature-car-forced-perspective-elgin-park-michael-paul-smith/?utm_source=google&utm_medium=organic&utm_campaign=organic Or rather his flickr: https://www.flickr.com/people/michaelpaulsmith/https://www.flickr.com/people/michaelpaulsmith/

It's magic! I could swear that Wally's face turned from a somewhat neutral grumpyness to a smile and his eyes got a voracious glimpse. In the meantime Annie's arrogant defiance seemed to change to a timid excitement... I don't know what Wally has said or showed to her in the third picture from the bottom to make Annie blush and her eyes widen. It looks like they may well have something hot cooking...

Thanks for sharing the video! No matter the type of the truss rod, the little bow allows for keeping the truss rod under tension in most every situation, even when the fretboard is dead flat. I suppose loosening the rod to zero or adjusting it for even more relief would result an unpleasantly high action. So simple, so logical!

Exactly my thought in the morning when I first saw it, funny how a thought can travel around the world!

I had to restart from page one and for once my memory didn't fail on me! There's drawings: https://www.projectguitar.com/forums/topic/51617-the-trajic-love-life-of-wally-the-walnut-gnomeor-wally-really-needs-a-girlfriend/?do=findComment&comment=594337

That headstock really matches with the body now, at least as well as the very original one. The blue burst looked very nice and cosmic as well but as you said it now suits the overall theme. Another option of course would have been to apply a blue burst on the body as well, then again it may not have looked good against the yellow center of the body. Good choice! Re the blue, done like that it might be a valid choice for @Nicco if he had a spray gun.

Tru Oil and the likes work well on roasted wood, although I've only used it for Alder. On one body I used Osmocolor clear wax, on another I used Crimson Guitar Finishing Oil which apparently is quite similar to Tru Oil - which in turns is an old recipe similar to this: https://thewoodwhisperer.com/articles/make-your-own-oil-varnish-blend/

To double check I scrolled up a bit so I could see the upside down face and all of the sudden I got a religious moment: There's something similar to the medieval carvings of Mary and the Child in the glow and tranquility.

Thanks to @Drak I rethought the top. Although the burst was somewhat of a success it made the subtle natural miscolouring vanish so since I managed to cut through the finish when removing a drop I decided to sand the entire top. Then I mixed some 400 grit brown sawdust with Titebond to a slurry and slabbed it all over the top in order to accent the pores. It didn't work, apparently the pores aren't deep enough to catch such a filler, so I ended up sanding her clean again. And I liked what I saw! The deep Cherry Red base makes the natural top pop. Or what say you?

You, sir, are a master of details! Speaking of which, peeking down her cleavage made me cough... Such an innocent baby face featuring such convenient handles... Ahem!

Ahh, of course, stupid me! Pinch point, that's a good and exact expression. Thanks! The quick and dirty test indeed revealed that the harmonic overtones get affected depending on the pinch point. Or rather, there's a sweet spot where the plank really rings. But the actual pitch doesn't change. Have you ever familiarized yourself in how xylophones and the likes are tuned? The dimensions won't change much so basically tuning the planks to the same pitch might not be too much of an effort and the dimensions would still be within the margin. Not saying you should do that, though! But it would be interesting to see if there's a correlation between the pitch of the wood and the string played. For acoustic builds I've learned that having a multitude of pitches on the top depending on where you knock will result a rich sounding guitar where every note rings nicely. On the opposite side there's the wolf tones caused by the played note being too close to the natural pitch of the wood. Most likely not, then again a much resonating guitar does interact quite some with the body before the flesh mutes it. For what I've understood this very testing process serves the purpose of finding out if some woods really tell the player things without actual audible feedback.

Do you have a sustain table for the acoustic sounds as well? Or am I starting to ask too much? One thing that was very noticeable in the sound clip was the pitch of the tapped woods. I wonder how much of a difference would it make if the boards were tuned to the same pitch... Then again, the Tas Oak and Celery Top Pine were within a semitone, yet there's a big difference in the low E and D electric sustains. Re tuning the boards, a very quick an dirty test revealed that the spot where the board is held by doesn't affect the pitch, only the sustain.

That's good news! You're learning! A semi-see-through film on both surfaces is fool proof, the same on one surface should suffice when you know how much is enough. Rather a bit too much than too little. And I repeat, don't overdo with the pressure. For what I've heard a perfect joint should be doable even without clamps! That said, even high end professionals use them just for sanity as you never know how the wood will react with the extra moisture of the glue. The high pressure clamping systems are for industrial thicknesses where 2x4" blanks are glued to beams up to 10x50" or even bigger.

That was my first thought but then I looked at the Radiata Pine which is on par with Blackwood at the low E and the weakest at D. Looking at the Elastic Modulus and Specific Gravity the Radiata Pine is quite similar to Kauri Pine, both of which differ noticeably from the Blackwood so the "piney" factor just doesn't seem to correlate. By specs the two pines were similar, by sustain the Blackwood and Radiata were similar on the Low E. The Wood Database didn't have specs for Tas Oak or Celery Top Pine no matter whether using the scientific or common name. And even for the three found there I couldn't read the Specific Gravity right, I thought it was a decimal comma but I just noticed that it separates values of green and dried wood. I just came out of sauna and have taken care of hydration so I'm not in the mood for googling.

Now that's interesting! Supposedly the wound strings have a longer sustain simply because they have more mass (energy) to make the wood vibrate in a manner that makes the string vibrate - something similar to the Newton's Cradle where you can't get much of an effect if the starting ball has only a fraction of the mass of the other balls in the row. Does the sustain correlate with Elastic Modulus or Specific Gravity? The Wood Database didn't know many of the woods so it's not easy to tell. I tried to compare the specs for Blackwood, Radiata and Kauri and could not find any explaining correlation. Then again, we can't be sure how well your pieces match with the WD test pieces. Could we read from the chart that the Celery Top Pine would make some interesting basses?

There's a million ways to spread glue, most of which are correct. Fingers, brush, credit cards, joint knives... You mention it. If you're uncertain, a toothed joint knife of sorts is your friend. Builders use glue spatulas all the time as the glues used for flooring can be pretty stiff and the amounts are huge. The right amount is measured by the size of the teeth. For guitar building the tooth size of the spatula should be something like that on a hobby saw, about 15 tpi. You can easily make one yourself of an old credit card. The right amount of glue is when you get a thin bead of squeeze out all along the seam. No squeeze out means there's no glue there. Lots of squeeze out means lots of extra work to wipe the excess off plus wasted money since you can't usually put the glue back into the bottle. Also remember that wood glue isn't a filler. Perfectly matching surfaces with an invisible film of glue in between is what we're after. Some pressure is needed to keep the pieces together while the glue dries. In theory it's possible to squeeze all of the glue out of the joint so don't overdo it. Clamping is not the right cure for curved boards unless you can squeeze the gap tight with your fingers when dry fitting.

That blonde stripe at the heel area creates an illusion of more laminated layers! Very stylish!

Wouldn't that mean that the loudest location for a pickup would be at the 12th fret? As it shows in the image, there's a spot where half of the string length is at the largest while at the same time a quarter of the same string is standing still. Which one is node and which antinode, I can't remember. Anyhow, the point is that in such a place one harmonic is strong and another harmonic is muted which explains why the neck pickup on a 22 fret guitar sounds different to that pushed one inch towards the bridge on a 24 fret one.

I've seen it somewhere and it was so simply put that even I could understand the idea. But don't ask me to tell you how it works! Very simplified, if you measure halfways the scale you'll end up at the 12th fret where there's a node. And if you measure halfways between the 12th fret and the bridge, you'll end up at the 24th or the neck pickup location where there's another node. Or are they antinodes? Anyhow, if you think about a looong skipping rope and then cut it in half and cut the half in half, the bridge pu location is where the hand of the rope swinger would be.

Fully agree! Washing instead of sanding back can sometimes work wonders. Depending on the dye, even water can work but it can also raise grain which then has to be sanded lightly.

I'm as good as you when it comes to electronics... Double check your jack wiring! I had a similar issue with less complicated pickups and no matter how many times I had read the diagrams I managed to solder the two wires to the jack wrong. Another place to double check is the switch, there's also a possibility to mix the ground and hot wires.