Jump to content

Lumberjack

GOTM Winner
  • Content Count

    53
  • Joined

  • Last visited

  • Days Won

    9

Lumberjack last won the day on August 21

Lumberjack had the most liked content!

Community Reputation

123 Excellent

1 Follower

About Lumberjack

  • Rank
    Member

Profile Information

  • Location
    Baltimore

Recent Profile Visitors

131 profile views
  1. Thanks for noticing! This definitely took quite a bit of experimentation to get right; I think the final mix was a blend of 5 different aniline dyes - a bit of brown, amber, yellow, red, and black.
  2. @Prostheta the dyes I’m using are water-based aniline, so usually they won’t interact with the clear I’m using. I’ve used lacquer to seal the binding in the past, but since I’m using a 2k finish over the whole guitar this time I went with a cheap hardware store acrylic clear since it dries quickly. I shoot 3 or so light coats to seal, and I’m not sure how deep it penetrates exactly, but I find the acrylic clear works just as well as regular lacquer.
  3. Yes I seal it, that’s the only way I’ve ever been able to get clean binding lines on “PRS-style” natural binding; I’ve tried using just tape and it *always* bleeds. I mask off the top and back with pinstripe tape leaving only the binding exposed and then hit it with a couple quick coats of clear (whatever you’re using, lacquer, acrylic, etc) so when I’m dying there’s actually no tape at all, just the clear coat keeping the binding safe. Then, once the dying is done you can easily wipe/scrape off any color that spilled over since the smudges are just floating on top of that thin coat of clear a
  4. My absolute favorite step in the build is dying the maple, here’s some shots of the process: First coat of black. Sanded back. Red added. Sanded back. Orange added and sanded back. Yellow added to middle, red added again to sides, both colors blended while wet. This shot was taken after drying out. This is a shot of the headstock when it was still wet, which is close to what it will look like after I add the clear coat finish.
  5. If your big honkin’ volute lasts for 4 or more hours please contact your doctor. I won’t even try to pretend my volutes aren’t inspired by your work, I love your volutes! I decided on inlaying a medal in this one.
  6. Thanks for the input guys! I think I’ll try some of those approaches for my next carves. Got the neck mostly carved, with a big honkin’ volute cause I like big honkin’ volutes.
  7. Major shapes/contours roughed in, next step will likely be carving the neck. All the contours were cut free hand with dragon and shinto style rasps, which is... sort of fun? What do you guys use for your larger carves? I’ve been using rasps for the longest time, but I’ve been thinking of switching to angle grinders with sanding attachments, or maybe some air-powered rotary sanding tools like I’ve seen others use. The sharp angle where the belly carve meets the upper horn was also part of the design for the blue guitar I built a little while ago, but
  8. The inlay was a single piece of wood to start, so those lines are just a single pass with the jeweler’s saw and as little sanding as I could get away with to smooth out the saw marks. The material between them is clear epoxy with a bunch of ebony sanding dust mixed in for color matching purposes, and it was pretty slow-curing so I had plenty of time to smudge it around till the lines looked right.
  9. It actually came with the jeweler’s saw I bought for cutting inlays, the whole thing was quite cheap ($15-$20) but the jig and saw both work great! Sanded it flush this morning and thank God it turned out alright, this is still dry with no oil and I’m hoping that will help blend in my “fixes” even better.
  10. Thanks for the heads up! I was surprised I didn’t get any tear out when I planed it actually. It chipped like crazy while I was working on the large inlay though... Speaking of which, doing this inlay was truly hellish - my tiny dremel bits were no match for this ebony, and after a bit of burning I gave up and switch to hand tools, itty bitty chisels, etc. As a result, it took me about ten million years to finish, and honestly was one of the messiest bits of work I’ve done in years. The ebony was chipping out everywhere and I’m just praying the “mix ebony dust with the epoxy you glue it
  11. Derail away lads! I always learn something from the conversations that happen on this forum. Yes the dust does get in there, but I’ve had good luck cleaning it up in the past, and after all it’s just the 12th fret inlay that will need it, plus it’s going to be dyed a color anyways. And yes @mistermikev it’s curly ebony - bought a $20 fingerboard blank and was surprised to find the figure hiding under the bandsaw marks! Got some routing and a tiny bit of contour carving done today. This is my first multiscale and even though I knew it was coming, the pickup cavities at different angles fro
  12. Thanks, and definitely agree about the marquetry! I don’t know why people don’t use wood as an inlay material on guitars more commonly, seems like a no brained to me if you’ve got some curly/quilted maple scrap lying around.
  13. Getting back to work on this one and did a bit of inlay cutting today. I spent quite a while working on those little abalone crescent moons, but I wasn’t able to get them consistently shaped and thicknessed, so I don’t think they’ll stay. Still up in the air on what will go into the board other than the 12th-fret quilted maple bit.
  14. It's been so long since I used regular lacquer (usually using oil these days) that I just didn't anticipate this at all. Oh well, we'll see how the coming months treat it, maybe it will dry up in the long run after all!
×
×
  • Create New...