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curtisa

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Everything posted by curtisa

  1. Trussrod access on the headless neck becomes a slightly more challenging prospect given that there's no angled headstock to provide an opening for a routed channel. Kinda has to be built more like a Fender neck with a drilled-through access at the end: Then the channel itself needs to be routed, although stopped short such that it doesn't go the full length of the neck: And hopefully it all lines up properly for it to slot together:
  2. I suppose I should provide some kind of overview of what's going on in the way of materials and specs. Once again these will be two concurrent builds. Once again I'm trying something new, so these will be headless multiscale 7s, and as the bridge pieces require some form of clearance/access around them to twiddle the tuners, it's time to experiment with a new body shape too. #1 will be getting: Chambered Blackheart Sassafras body with myrtle top 5-piece laminated neck in Cheesewood and Blackwood Cheesewood fretboard with gidgee inlays 25" / 26" scale length with 9th fret perpendicular String locks and bridges by Technology 4 Musicians in black Fishman Fluence Modern active humbuckers Single volume + three position switch. Push/pull on the volume pot to select between the two voicing modes that the Fluence pickups feature #2 will be identical to #1, but differs such that: Chambered Blackwood body with non-fancy top. Swirl paint finish (oy vey!). Don't worry, nothing quite as loud as the 90s Ibanez Universe that everyone knows so well. Mulga fretboard with Cheesewood inlays Lace Alumitone X-bar pickups String locks and bridges/tuners by ABM in black Single volume + 5 position blade switch. Pickup selection options yet to be determined, but most likely some kind of auto-splitting stuff in between the usual 2x humbuckerpositions Cheesewood (pittosporum bicolour) is a native Tasmanian timber. Very hard, very dense, very pale, reasonably difficult to come by in large pieces. I picked up a fairly large piece of it some time back for an OK price, enough for two necks. Blackheart Sassafras is also a native Tasmanian species. Quite light in weight. It's usually known for its pronounced black and brown streaks that develop from fungal attack (hence the name), probably not unlike spalted Maple. The piece I'm using is fairly mildly streaked, with only a little bit showing at the extreme edges of the body. Mulga is an arid-area timber from mainland Australia, also very hard. So: Blackheart Sass offcuts being used as clamping spacers at the back:
  3. Great to see a fellow amp nut here. I got into this guitar-building malarkey via DIYing tube amps too. Like you I also tried the SLO100 lead and Ecstacy Blue channels, but my experiences were the opposite - I didn't mind the SLO100 preamp if I jacked up the plate voltages, but the Ecstacy I was always a bit 'meh' about. You've got some tidy looking work going on there.
  4. I'm yet to do anything more than 2.5D milling, which at the moment suits my requirements sufficiently. My machine is arguably too small to machine 3D contours for bodies and necks anyway. I've got a CAD background, so I can wrap my head around most 2D CAD programs well enough to get things done, although AutoCAD is where I did the bulk of my original training. 3D stuff I haven't looked at for probably 16 years or more now, so I'm seriously rusty in that area. Downloaded and gave MeshCAM a quick go last night, but it seemed reluctant to want to work with anything other than closed polygons. Opening a fret board drawing with the slots drawn as straight lines was apparently not kosher - surely they should be interpreted as a slotting operation?
  5. You probably could do it that way. The thing that makes that less attractive is that the fretboard needs to be moved up exactly parallel to the Y axis for each mill cycle. If it gets repositioned with even a tiny bit of angular error the whole thing gets messed up. To do that I need to create a jig with a fence to ensure it stays true to Y the whole time. As the jig I created to do this already has the fence it isn't too much extra effort to install the tiling holes and take all the guesswork out of it by using pins to locate the fretboard for each half of the milling process. Provided I split my CAM files at the same Y co-ordinate every time, the cutter head then only needs to be zeroed on the very first run and the rest just falls into place. Eyeballing the position of the cutterhead to the last thing that was cut also sounds like a grey area. For fretslots it's probably not too much of a stretch but for something fancier like inlay that gets much harder to pull off accurately. What if the last thing that was cut stopped in the middle of an inlay pocket after hogging out all the waste around it? Surely then there'd be nothing to visually reference against to reposition the workpiece to the tool on the second run?
  6. Believe it or not that is the smaller version of the CNC you're considering - the 3020. The fretboard had to be milled in two halves. You can see in some shots the fretboard is overhanging the front of the machine while it works on the part it can reach on the table. At the halfway point the fretboard gets moved further up so the completed section overhangs the back of the table and the CNC can then run the second half of the job. Getting the two halves to line up properly is the real trick. Shameless self promotion - you may want to go to the main site and have a look at the first of a series of articles we're working on. They'll describe this process in more detail. Yep, I have a soft spot for that Strandberg lower cutaway. Makes a lot of ergonomic and weight-reduction sense without turning the guitar into something that I find visually unappealing (Klein Guitar?). I've noticed recently other people have borrowed this for their builds too. The rest of the body shape has leanings towards the Jackson Dinky or Ibanez Sabre. I think I've explored the pointy superstrat shape enough now, and if I'm going to experiment with a headless guitar it may as well be an excuse to go for a new body shape with softer contours.
  7. What? Doesn't everyone here work that fast? In all seriousness, there's probably a month or so of progress compressed into those three posts. I have more to post yet that gets us up to now. I was waiting until I'd finished off the Evil Twin before I started sharing something new. As it is, building has stopped as I'm waiting on hardware to arrive.
  8. Cheers guys. Indeed it does. Don't be fooled though, there's no way this is a case of 'feed in a design and spit out a finished part in 30 minutes'. There was a MDF jig that had to be made to hold the fretboard blank properly, the fretboard drawing and each component of the inlay had to be tweaked to create the toolpaths for the CNC to follow, the G-code had to be manually edited to get the endmills to cut slots without breaking, I had to get some decent quality cutters for doing the fret slots, there were plenty of experiments on MDF. All in all there's probably a good 2 or 3 days worth of programming and practicing before I was brave enough to pull the trigger on the actual piece of timber. Even after all that the CNC took a few hours in small stages to complete all the work while I watched it like a hawk to make sure nothing unexpected happened. I doubt this could replace the equivalent handmade fretboard in terms of speed.
  9. Good grief. What kind of offset body blank madness is this? Well, it's got chambers...
  10. Actually, I'd be curious to know what you think of MeshCAM. I'm looking for a standalone CAM application to simplify generation of toolpaths from CAD.
  11. Welcome to the club. Confused yet?
  12. If you're a regular visitor here at ProjectGuitar.com you may have caught our four-part series on using a compact desktop CNC milling machine and its application in lutherie. In the first instalment it was mentioned that a CNC is ideal for applications where precision and flexibility is required. One of which was milling fret slots in a fretboard blank, where positioning of the fret slots is crucial to the accuracy at which the resulting instrument can intonate, particularly in the higher registers where a small error in fret placement can result in a a major error in fretted pitch, The trade-off to owning a small CNC machine (or indeed any CNC machine) is that it has a practical limit to how big a piece of material it can fit within the confines of the milling area - the X, Y and Z axes can only move so far before they eventually run into the endstops, and no further reach of the cutter head is possible. If you take a guitar fretboard for example it will comfortably fit within the limits of one axis of even the smallest CNC machines - unless you are building some kind of 17 string monster most fretboards will not exceed more than about 70mm in width. The problem is that the fretboard length is usually in the vicinity of 500mm or more. To machine such a long object on your CNC machine in one hit obviously requires an axis with a reach of at least this length. There is, however, a way of expanding the reach of an axis so that you can machine objects bigger than the physical limits of your CNC machine. By milling the object in two (or even several) stages, moving and accurately repositioning the material midway through the process, it is possible to complete a complex milling operation on an object larger than the CNC router. This operation is known as tiling, and while it presents its own set of challenges and hurdles it is not unheard of to operators of CNC machines; tiling can be often be required no matter how big your CNC machine is - if the client requests an object bigger than your machine, if you simply don't have access to a larger CNC router you'll likely resort to tiling to complete the job. Successful tiling requires that the job be accurately repositioned partway through the milling process, such that the end of the first stage of milling aligns perfectly with the beginning of the next stage. This can be achieved through the use an indexing plate affixed to the CNC bed and a series of locating holes in the workpiece that align with matching holes in the indexing plate. Conveniently for us, we can use the CNC itself to create the indexing plate and holes to minimise any milling inaccuracies that may occur when changing positions. Creating the Jig Materials List: V-cutting engraving tool 1/8" diameter stubby rivet drill 6mm MDF sheet, approx. 600 x 450 12mm MDF sheet, large enough to cover table of CNC machine M6 or 1/4" nuts and bolts (20mm length) Four spare 1/8" drill bits, cutters or other solid rod material (to use as indexing pins) Glue, clamps, pencil, straightedge Patience Most CNC machine beds are made from slotted aluminium extrusions to allow the user to freely affix the workpiece to the bed using nuts and bolts. Our indexing plate will be rigidly secured to the bed and is made from a flat, smooth, easily-machined material - MDF suits our needs admirably. Cut a piece of 12mm-thick MDF large enough to cover the entire bed of the CNC. Neatness and squareness of this piece is not super-critical at this stage. With the MDF laid on the table carefully mark the locations of two outermost channels on the bed to allow us to drill some securing holes for the indexing plate. Drill a hole in each corner that aligns with the mounting channels used on the CNC bed. Use countersunk screws or otherwise recess the heads of whatever bolts you use to secure the plate to the bed. Once the plate has been drilled to accept the mounting hardware, return to the CNC machine and fit the plate to the bed. The slots on this machine will accept an M6 nut, the channels being narrow enough to prevent the nut from turning once the bolt is tightened. Mark a starting point about 50mm in from the left edge of the CNC bed. This will form the origin of a vertical line that will be engraved parallel to the long edge of the table. By using the CNC to scribe this line we ensure that the line engraved is square to the CNC machine's motion, rather than square to the table or MDF edges. This is essential for ensuring accuracy of the jig. Fit an engraver cutter to the collet. Home and touch-off the CNC to the indexing plate at the mark that was created. Most motion control applications include a manual G-code entry mode. This is useful if you want to perform some basic milling operations where generating a comparable G-code would be unnecessary or wasteful. If using LinuxCNC for example, click the 'MDI' tab in Axis (or press F5) to display the manual entry window. By typing G-commands one line at a time we can instruct the CNC machine to perform movements on a step-by-step basis. With the CNC machine homed and touched off to the MDF sheet, switch on the spindle and type the following lines into the MDI tab, pressing <enter> after each. Alternatively copy the below text into a blank G-code file, save and run it within your motion control software: G1 Z-0.5 F300 G1 Y280 G1 Z10 The above listing will lower the cutter to a depth of 0.5mm into the surface of the MDF, engrave a 280mm straight line up the Y axis and then retract the cutter out of the MDF to a height of 10mm, where the spindle can safely be switched off again. The line engraved on the MDF will form the reference to assist with assembling the next part of the jig. Using a piece of 6mm MDF cut a piece about 25mm wide and the same length as the CNC bed. Take care to ensure that one of the longest edges is as straight and square as possible (hint: the factory cut edge from a sheet of MDF is often very squarely machined - use this as the reference edge). This thin strip of MDF will form a fence for the indexing plate. Glue and/or screw the fence to the MDF indexing plate, lining up the square edge of the 6mm MDF to the engraved reference line as closely as possible. Be careful to ensure that the fence doesn't accidentally slip or move while the glue is drying. Using some more 6mm MDF, cut a baseplate large enough to comfortably hold a fret board blank with about 15-20mm overhang on all sides. For example, if your fret boards are nominally 60mm x 550mm, make the MDF plate about 100mm x 600mm. On one of the longest sides sand/cut/file/plane a nice, clean square edge. This edge will ride along the fence on the indexing plate and needs to mate with minimal gaps and bumps. For the next step we will need to create CAD drawing and resultant G-code program to drill the locating holes. The reason we do this is that the CAD drawing of the holes is subsequently used to determine the 'split point' of the fret slotting job when milling in two halves, Without an accurate reference for the split the two halves will never align properly when machined, no matter how well the jig has been constructed. In your favourite CAD program draw a rectangle representing the fret board holding plate at a scale of 1:1 (ie, 100mm wide by 600mm long) with a lower-left corner origin at X-5, Y-5. Make sure the rectangle is drawn vertically aligned such that the longest edge is in the Y-direction. Next, draw four vertexes/points in the locations shown - two positioned 5mm in from the bottom corners and two 5mm in from each side at the exact midpoint of the rectangle (hint: use object oriented snaps and draw reference lines to accurately position these points, and delete afterwards). The critical point is that by virtue of creating a rectangle with origin X-5, Y-5 and then offsetting each edge inwards by 5mm, the lower-left drill hole is at exactly X0, Y0. In the below example the points have been added on a new layer in red. The four points now need to be exported as G-code. When doing so, set the feedrate fairly low (say 50mm/min) and set the Z depth to -10mm. The resulting G-code should look something similar to the following. Note that I have broken up the listing a little and included some comments to better illustrate the four drill hole steps. Now we get to cheat a bit with the CNC machine. The collets on the smaller units are usually designed to accept 1/8" shank bits. A 1/8" 'stubby' rivet drill, with its short cutting flutes can also comfortably fit into the collet of the CNC machine, and can be used to accurately drill the workpiece locating holes for the jig. Re-install the MDF indexing plate and lay the fret board MDF plate on top with the reference edge hard up against the fence. Position the leading edge of the fret board plate flush to the front of the indexing plate and secure in place with some temporary clamps. Fit a 1/8" stubby drill bit to the spindle and tighten securely. Open the drill hole G-code in your motion control software. Home and touch-off the tip of the drill bit such that X0, Y0 is 5mm from the bottom edge of the fret board plate and 5mm from the left edge - this is where we want to begin drilling the four holes. Turn on the spindle and run the G-code - four holes will will be drilled into the holding plate and through to the indexing plate. The final step of creating the jig also serves to illustrate how the tiling technique is performed. Remove the temporary clamps and slide the fret board holding plate down such that the top two holes are now positioned over the bottom two holes in the indexing plate. Insert two spare 1/8" shank cutters or drill bits into these two holes, locking the holding plate to the index plate, and temporarily clamp the top of the holding plate in place to prevent it shifting from side to side. Open up the G-code for the four locating holes and edit out the lower two drill hole entries (hint: enclose the relevant lines within brackets to convert them to non-executable comments). We obviously don't want to re-mill the first two holes, not the least because we now have two pins inserted into them, but we do want to mill the second pair of holes again for the top section of the fret board holding plate. Note that the X90 co-ordinate has now been added to Y295. As the previously defined X co-ordinate has now been disabled it needs to be moved to the new 'initial' drill hole position, which is now at the upper-right corner. Save this file and re-open within the motion control software, but do not re-home or re-touch off the machine. Run this G-code again and note that only the top pair of holes are drilled into the holding plate through into the pre-existing holes in the indexing plate. The jig is now complete and ready to be used. By using four 1/8" pins and securing the holding plate at the lower position the first half of the job can be machined. When this operation is complete the pins are removed, the plate shifted down, the four pins re-inserted and the second half of the job run with perfect alignment between the two halves. ----==---- In the next installment we will delve into formatting and splitting an over-sized job into the requisite halves such that the milling of a fret board can be achieved, and also learn a little about optimising our G-code to run a little more 'intelligently'.
  13. Sounds like you already have the larger purchases in hand. I have the Stewmac fret press and a few inserts of various radii. They work well, but I'd recommend using them in the proper arbor press rather than in a drill press. The drill press flexes quite substantially when cranking down on it enough to seat frets, which from using a tool for its intended purpose gives me the heebie geebies. I find I get better results using something long to level with (levelling beam, aluminium radius beam), particularly across the lower frets. IME the shorter levelling files are difficult to guide across the larger gaps between the lower frets as there are fewer points of contact, and I personally found it very easy to accidentally take off more in the lower registers and end up with a neck where the fret crowns tapered down towards the nut. You can grind off the teeth from one edge of a file to create a 'safe' surface. If you already have some suitable files handy this could be a low cost alternative to purchasing a dedicated file from a luthier's supply outlet. If you're a hands-on DIY kind of person I reckon that even if you only build a couple of guitars you'll likely find a use for many of the tools that are geared to luthiers. Levelling beams, scrapers, specialised drill bits, template router cutters, fine pitched saws, Dragon rasps, precision mitre boxes etc are nothing more than standard cabintery tools that have fancier marketing behind them. At a guess of all the stuff I've bought from Stewmac theres only about 4 or 5 things that only get used on guitars.
  14. Definitely the pickups. The Alumitones have a massive peak in the upper mids, almost like a wah pedal pushed all the way forward. I had to slug them with an R-C low pass filter to get them under control. They still cut like crazy in a mix as dense as that without any additional help. The sister build to this one, with the EMG 57/60 combo isn't anywhere near as bright.
  15. Clear epoxy or CA would have been my suggestion. Just be careful not to let it spread too far. Perhaps mask off the surrounding area with tape first. Acoustically or plugged in? Nut should only affect the open string tone. Maybe check the bridge-end for any problems - poorly coupled components that need tightening, saddle breakpoint is pinching or rubbing the string. bridge plate not making solid contact with the body under the B-string
  16. Guilty, your honour. In one way or another all the guitars in that track is that beastie.
  17. Damn gremlins. Be off! Noise! https://www.dropbox.com/s/hyskwhzlccekfdu/MSR6 Firestarter Test.mp3
  18. I'll second the router and bandsaw desert-island tool requirements. But then you'll need to spend some money on good quality blades and cutters, and then something for dust collection because it will make a hell of a mess, and then maybe a second router for smaller jobs, and then a third to dedicate to your router table, and you could really use that spindle sander, and you could probably sneak that thicknesser in past the wife without her knowing, and sod it - chuck in that low angle block plane...and a couple of diamond grit sharpening stones... It's a slippery slope. Fretting - diamond grit crowning file, Stewmac japanese fret saw with depth stop attachment, fretting hammer, 18" levelling beam, fret wire bending thingamajig, a small selection of needle files, a smooth cut file with the handle off. I have the matching Stewmac mitre box and a couple of their templates, and while it does a great job you're stuck if you want to make a fretboard with an unusual scale length. I've found that if you can print your fretslots at 1:1 scale and stick the drawing to the timber it's entirely possible to cut well-intonated fret slots by sight as long as you go careully and slowly. Keeping the blade vertical and tracking along the fret line on the drawing can be achieved by clamping down a block of timber to the line on the drawing and riding the blade of the saw up against it. Auto supply stores may carry small brass or nylon-faced hammers that can substitute as a cheaper alternative to Stewmac's fretting hammer. Car boot sales, local markets and second hand stores can turn up smaller items like the needle files and the smooth cut file.
  19. Interesting. Not sure if it's the way you've drawn it or I've just never noticed how a 4003 is actually made, but I almost want to rotate the body clockwise a degree or two around the heel. It just looks ever so slightly like it's pointing uphill
  20. A cheap check for identifying high frets is to use a single-sided razor blade or Stanley knife blade as a fret rocker. Straddle the blade across three frets and wiggle it side to side. It will be easy to detect a high fret in between two adjacent ones as you will feel the slight 'click' as the blade rocks over the high point and makes contact with the frets either side.
  21. 1st to 18th should show some gap in the middle under the strings - that's ideally indicating that there is some curvature in the neck to allow for the strings to vibrate freely without bottoming out on the frets. 12 to 24th as near-flat sounds about right, although that's not a common measurement to make or compare against. You'd expect the neck to be nearly flat in this area as it will have less bend-ability here due to it getting thicker and starting to form part of the more rigid mass of the body. It also needs less curvature at this point as the fretted strings will form a steeper angle with respect to the bridge, naturally allowing more clearance underneath to vibrate. If the truss rod is loose make sure any buzzing you're hearing is not the truss rod itself. Tighten the slack out of it first and check for buzzing again. Try re-seating the suspect frets first, but yes, I would have expected any guitar to need a fret level in order to play buzz-free, however little material needs removing from the crowns. Visually checking with a straightedge won't be sufficient by itself.
  22. I probably should have mentioned in your earlier thread regarding the egg white pore filler - I've also only seen the technique mentioned when the finish being applied is French polish, where the film build is done without sanding between coats - water never forms part of the finishing process in that situation.
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