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Woodenspoke

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Everything posted by Woodenspoke

  1. First if anyone thinks they can just duplicate an industrial process at home forget it. Even if the idea was a sound one. I have never heard of this until today. I am skeptical as I always am about such claims. Maybe the process destroys the wood fibers ability to reabsorb moisture and thats how it works, I have no idea. Putting on a finish does almost the same thing. If guitar companies spend the time to properly season the wood rather than crank out guitars by the millions then maybe we would not have neck issues with the guitars we buy. But then what would repair people do for a living. I can believe adding something to the the wood such as ebonizing would have an effect that is measurable but this seems like hype. If it was true, the process would have been adopted by every major guitar manufacturer already as the cost would be minimal. Toast your necks in an oven and stablize the wood 100%, not convinced. I will admit it would be very dry wood.
  2. OK here is my glue collection today. Not shown 1lb hide glue in a bag.. If anyone has a hide glue pot they want to trade PM me as I lost mine in my last shop move... I have lots of epoxy and different PVA Glues but the two red Titebond original glues are what I use for most of my guitar work.. You would think I was an epoxy master given how much I have in the picture. I also have lots of CA that I pick up in bulk. Never goes bad unless you open it. The CA is in different thicknesses, Also few Pre colored bottles of CA in black and white (hate these as the color sinks to the bottom).
  3. I like to belive I have some experience with what I choose to discuss. I didntt ask to make this a glue discussion and up end the OP but I did need to explain my posistion. If your comments were intentional or not, they were based on limited information and confusing to people who do not know what is or isnt correct. Usually when I think I have no clue I spend some time on the internet doing research or listening to whats being said before I comment. Google book on gluing Read Page 196 Something a bit easier Idiots guide I am sure If I tryed harder I would find many nore instances supporting what I said. I liked the show me your glue shelf and will start a new thread in the shop and tools section..Great Idea
  4. Most people buy double action truss rods, they have to be manufactured (welded). Sound like you are using single action rod. Guitar correct but old school. If you are cutting a double action rod its most likely destroyed (I am assuming you are not). First steel single action rods are cheap if you are making your own using a tap and die set. So just buy a few feet of new rod.
  5. Great Idea; about time sombody came up with one around here.
  6. A pad sander (vibration) VS the RO or random orbit sander, is really old VS new, Quality Pad and RO sanders are about the same in price. there is a big difference in most areas 1, As was mentioned the RO cuts faster and you will spend less time on the project 2. RO paper is more expensive as it is cut to fit. If you are in the states stick to a 5" 8 hole model sander as paper is cheaper. 3. Most RO sanders have a velcro type system and its is much easier to change paper only takes seconds. 3. Pad sanders use sheet paper cheaper but require you clamp in the sheet and frankly does nott last as long. Some pad sanders use Velcro or sticky back paper but you are back to a special paper. Some Ros also have sticky back but stick with velcro as paer will not get ruined with age (glue hardens) 4. The RO sanders all have dust collection, pad sanders do not (none that I have ever used). I have two Pad sanders a 1/4 sheet and a 1/2 sheet and never use them. I have 3 RO sanders and use them all the time. Dont buy a pad sander its really old technology.
  7. I will just say you can ignore my experience or accept it frankly I dont care if you disagree. I was taught to use the glue when I started out as a professional woodworker in the 70's. Its the same advice I have read over and over in magazines devoted to general cabinetry when the subject comes up. In fact I think if you watch some of the TV shows devoted to woodworking you will see the same thing. I am not saying your ignorant and preaching nonsense to new builders thats your choice to make. What I am saying its not a good idea if you spend 80 hours on a project and cant take the time to spread glue on an additional sq foot of wood surface. Seems the few extra minutes over 80 hrs would be a minimal addition for piece of mind. Hopefully some People will learn which is always my intention, its is never my intention to make people look stupid, they do that to themselves. As far as water and PVA I think that is a bad idea. As Mattia pointed out Polyurethane cures using moisture so in that application use water. But I do not recommend polyurethane for guitar building as it is one of the weakest glues available. Highly overrated. Epoxy does not bond with the wood fibers so really only one side is necessary. But I am fine with coating both side so you know you have full coverage. Better safe than sorry.
  8. Epoxy one side, PVA (titebond) both sides, polyurethane one side. I will just assume none of you read magazines about general woodworking, because I am totally amazed at the response. So we are back to glue 101. The reason to coat both side of any titebond glue joint is to avoid glue starvation. PVA bonds buy seeping into the wood fibers, epoxy does not either does many other glues. If you coat only one side with PVA, the time the glue has to adhere to the second side and absorb into the wood fibers before you crank up a clamp is minimal. So glue starvation can be the result of pressure forcing the glue out of the joint before the second side has a chance to suck up some of the glue. Starvation meaning not enough glue to form a proper bond. One of the reasons why clamping pressure should not be excessive with PVA or any other glue for that matter. It also allows you to lightly coat both sides. I have seen people rub one side against another but that is frankly bad form. When you coat both sides you have positive conformation glue in fully applied across the joint no matter how much squeezes out. Maybe this is why some people experience creep with titebond (only a theory not substantiated by any facts). I have never seen anyone coat only one side of a joint with PVA, at least not that I can remember.
  9. Humm seems like a conversation I never heard before. The only reason to keep glue out of the truss rod cavity is it hardens up and may effect the rods ability to move. Honestly I kinda doubt it knowing how easily titebond is chipped from metal surfaces. I employ three methods: 1. dont add so much glue it gushes out and dont glue down the center of the rod. How hard is it to spread the glue only where you want it. With every titebond application you must glue both surfaces before you clamp (its not an option). 2. Add a wood strip and glue over it. Veneer works 3. Fill the cavity with silicon up to the top of the rod then no glue will get into the rod. I dont use epoxy but I would assume you have to cover the rod to keep the epoxy from bonding to the rod. II would use only silicon in this application.
  10. The truss rod on an acoustic or any guitar does not operate at the neck joint only at the center of the neck. So you in fact have a neck problem not a truss rod problem.
  11. All sanders are convertible buy buying a replacement pad for PSA paper. You will not find these products at Lowe's, granger (ouch price) but at sanding specialty suppliers. Google PSA replacement pad (Manufacture name goes here). may be cheaper than buying the last granger PSA sander and you have a brand choice and can convert back. So when the glue dries out on all theat old PSA Paper you can go back to Hook and Loop sheets.
  12. 7 purpleheart I remember the dragon? 3 ash 5 rosewood Its my best guess. A cute torture post if I do say so. You are not making that into a guitar now are you? LOL The Birdcaster.
  13. Yellow comes in a dye. Transtint or a powdered (aniline) dye can both be thinned into a clear finish rather than wiping on the dye, this is called tinting the finish not staining. After apply enough tinted finish to get the desired color stop and switch to clear for your final coats. Of course it will work fine on some lighter woods and not so great on darker woods. You can apply yellow directly as well(stain) then clear coat. Getting a yellow paint opaque may be near impossible as a white base has been added.
  14. i disagree spoke. i find a clever solution to a problem like this much more appealing and it can even lead to new ideas. that is unless its a replica/repair, those really should be hidden I have never run into a mistake I cant mask from others. If I have to modify my design its something that results in a new piece of fire wood. The last big mistake was putting a dot in the wrong place on a fingerboard. I still have the board but I hand it to students to give then a feel for hammering in frets, Right before I show them the fret press we will be using. I mean yes there are some mistakes you cant fix and sometimes modifying the design is justified. A big plus is chipped body edges where a shape can be easly modified to remove the chip. But in this case I dont see the reason to accent a spot which will be laregly ignored except by the builder.
  15. Rather than accent your mistake I would just find a matching piece and let it go. Some larger heels are glued up in multiple layers and the practice is not frowned upon. Adding a strip is a non standard practice and will make it stand out and look odd. Hiding the error is the first priority never turning it into a design element. Color or stain will make it even less visible. You must have had some scrap during the build? If you didn't save any this is another lesson learned, dont toss large scraps until its finished, just in case.
  16. incorrect, and get off your high-horse where do I get it - a hardware store Lowes Home Deopt You asked a simple question and I gave you a simple answer. There's the links to the proof. If I'm a smartass for giving you the RIGHT ANSWER in it's SIMPLEST POSSIBLE FORM, then I guess I'm a smartass. And Mex is spot-on - Chris's tutorials are really helpful. Watch them a few times and soak it all in before you try anything. Like I said, I'm not going to get into the obvious with you. Thanks for the links. How about posting your location in your information so we can better help you as this is an international site. Yes most of these jokers use dremels and they call them routers so they would not know what a pattern bit is other than the name. Or they are so cheap the bit has been used well past its life span and the burning makes it that much more interesting to make garbage from a block of wood. Your type of router limits your options. I have gone out of my way in several posts to provide detailed information about the type of bits that are available and what works on a guitar. It comes back to how small or big your router is and how comfortable you are with large bits as verhoevenc said . Tools today is a good site http://www.toolstoday.com/ or even woodcraft. Home crappo and Lowes sell garbage bits you might as well buy Chinese at a discount from http://www.eagleamerica.com/. Good router bits can be sharpen end by a local shop so dont cheap out because you get what you pay for. I suggest you do a search for pattern bit on this site and see what you find. I personally think the search function is a waste of time since I cant even find my own posts that way.. Good luck Dont let the rabble dissuade you they are harmless except to themselves and wood .
  17. I normally just run a 1/4" blade for almost everything that does not involve resawing tall stock. First the openness of the saw makes it easy to swing your work. No need to ride the body on the outer edge you can work on the left side of the blade as well. I sold off two bandsaws when I got this one. A Delta 14" and a Grizzly 16" (older model). I could not see any reason to setup one saw with a particular blade to so some repetitive task. I mean even the 18" has some annoying features and blade changes are way too long for my taste. Then I wish I had a 24" model for the additional table space when I am working with a neck through. Its just totally different feel and operation to a 14" saw. (Insert some stupid saying here)
  18. +1. In fact that is the best screw up you could hope for and the fix is easy
  19. Belive me if you had the Laguna 18 you would never use the 14" again for any guitar shaping. Take it from a laguna 18" owner.
  20. Dont over think this. There is no reason to worry about readings between two ground points if you are just checking continuity. The beeper on your meter will be just fine. Every part and ground wire and shielded cable cover needs to be grounded through the pot covers and every pot cover need to be connected. Then it all runs into the ground on the jack. If your control cavity was shieded then adding a ground sheild to the wires on the jack is a waste of time. So in short you should be able to place your meter on any two objects connected to ground and get a reading or a beep. Its really that simple. Most people who have never had solder experience have issues getting wires soldered properly to the back of the pots. So I would start by making sure everything is connected to the back of the pot that needs to be; and that all the pot shells are interconnected (grounded). Its a point to point check. If everything reads connected its something else. Then I would start by removing one pickup from the system to isolate which pup the buzz is comming from. But as was said first make sure its all connected properly according to your wiring diagram.
  21. It would be easier to strip the guitar and start with a flat surface and new paint. them paint the pattern back on. there are several reasons the whole idea will bite you on the butt and make you squeal, so here is just one. Just getting a level surface with a decal is a good deal of work imagine trying to level the finish in what you are planning. Expect to add coat after coat of clear and then spend hours sanding that down over the old paint until you build it up enough in the areas you removed. Plus the cost of all that paint will be excessive. If you dont have spray equipment it will be a shocker buying rattle cans. Not a good idea.
  22. I mean hose (new one to me) wedges or clamps it really is all the same. I am not sure you want to attempt multiple tops in a single glue up I think you are asking for trouble. If one piece does not align more issues. Plus all that glue squeeze out will make a mess. If its open it can be cleaned off while it is still wet You went to a lot of trouble to make that hose clamp. why dont you just set up a clamping station for the tops using pipe clamps cut to size. The whole thing can be on a cart or wall. Again a board with two clamps mounted underneath, in this case some electrical pipe hangers in a U shape to hlold the pipe. Add two cauls so you dont destroy the board edge and you have a single station using cheap pipe clamps. Mount them on a vertical cart and each station slides out like trays so you can glue and then put it back to dry. Saves space less work than wedges. Considering all the work you put into those air clamps this should be a cinch to build I have seen this mounted on a wall in either a long continuous row http://www.shopnotes.com/issues/062/extras/clamping-station/ Something like this only more refined and the clamps attached to a flat board or not. http://www.woodworkingtips.com/etips/2007/06/22/sn/
  23. People react differently to different woods. Usually its gets you after prolonged exposure to a specific species over an extended period of time. Your body has time to develop an allergic reaction. But then there are those woods that just get you right off. Ebony dust makes me sneeze and the tanic acid in Oak stains my hands badly. The staining I can live with but the sneezing is something I can do without. Hard to give up ebony so I now have to wear a dust mask when sanding the stuff. Its a pain to wear a mask for everyday work. I used to have a Cloth dust mask that I used when I was cutting particle board 8 hrs a day. Better safe than sorry with glued lumber. That mask was comfortable for long periods, but it was not 100% dust proof. I think it was the dust be gone mask. So if you have an allergy to a specific wood then saddle up with a real mask or dont use that wood again. Breathing issues would be top of my list as a wood dust symptom.
  24. When I glue up thin tops I never use clamps. Its the same method you would use to glue up an acoustic top. there are variations as well You start wuth a pice of flat plywood with two strong cross pieces placed ontop at the top and bottom, spaced slightly wider than the top. Screw these pieces down. The spacing is determined by the width of the top the size of your wedges and if you add a loose bar to the top wedge to sit against the wood you are gluing I would make it over sized if you plan on using it for other guitars. You can alway add a spacer. Using 4 or six wedges faced together in pairs you hammer the wedges tight against each other forcing the top together. Again you can add another piece of wood to sit against the side of the top. You will need some wax paper under the joint and some small clamps and a board across the top holding down the glue line . It does require plywood and time to construct. For 1/4" boards or thinner I only use this method. For thicker stock its a toss up. But it could work for both. Similar glue up only using more clamps. there is also the spanish method http://www.luthiersforum.com/forum/viewtop...102&t=13053"
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