Woodenspoke

OK Foxtrot Oscar

Maybe you mean the strings radius at that point using a 12 bridge. Try finding a fixed bridge that will be perfect. Guitar building is not an exact science as evident by whats been done. But a compound radius is a refinement none the less. I have never seen a fallaway on a compound board or heard anyone consider adding it? Not that fallawys come up in discussion here all that often. I dont know of any way to create a compound radius with a constant string height. But I have never noticed a huge difference except the ability to lower the action.

I never make mistakes, I just learn new repair techniques.

this is copied from another forum. Take is as face value as I do not know if it is true or not. the link is below general "rule-of-thumbs": 1Meg = very bright sounding 500K = bright sounding 250K = warm, vintage sounding 1Meg = bright HB...shrill SC 500K = warm HB...bright SC 250K = muddy HB, warm SC HB = humbucker SC = single coil ...the HIGHER the pot resistance value, the LESS high-frequencies are attenuated. ...the LOWER the pot resistance value, the MORE high-frequencies are attenduated. TONE control pot value doesn't matter too much because the overall "taper" or "rolloff" can be 'adjusted' by simply changing the cap value. The value of the tone pot when it is fully open has exactly the same loading effect as that of the volume pot, and in fact does not depend on the value of the cap (for usual values), which only affects its response when you turn it down. In other words, a single 250 k vol. pot will produce the same amount of treble rolloff as a 500k vol. pot and a 500k tone pot (in all cases with the pots at maximum) since the parallel of 500k and 500k equals 250k. You can see this effect and also the one explained by Jim in my simulation spreadsheet: www.harryj.net/voltone.xls. The default pickup parameters are for a vintage humbucker, use pickup L = 2.8 H and pickup C = 60 pF for a typical single coil. you can read more here http://www.thegearpage.net/board/showthread.php?t=59038

First what grinder is it. Then have you tried removing the stone and rotating it? Possibly is the shaft bent? Some stones use inserts in the center to adapt them to the shaft. This could be the problem as well. If none of the above and you only use the face of the stone just grid that flat. Again it depends on the machine you have. If its new that you have a problem.

I would no go past 12 with a 7.5. But I have never tried it with a 16 which is really flat. The other issue is the bridge. Most bridges are 12.. Figure out the bridge radius first,

Its easier to do this before the body is tapered if you dont have a binding jig. The reason I say this is the body is very thin at this point, depth wise and limits your edge contact with some tools. Also the rear cutout is there as well. That way you start with a level surface for the router. The router will remove the bulk of the material the transition will need to be done by hand. Not that I have given this much thought. I guess you could also add a pattern to the top and do it afterwards. Again its the change in depth that makes it hard without a binding jig as this follows the contours ad jives an even chanel depth.

I try not to get involved with these posts but you sparked some interest. First your rear trem route seems shy of the mark. In order to get a solid insert it should ideally be touching the wood on the top. To me it looks like you left a space and this a gap. This is not a good idea plus its a week spot Possibly use epoxy to fill this space as well as gluing in the insert. As far as the strings go there are several things you look for. Since its not a fitted neck you are working from an n existing cavity. So as it looks like you have done already two parallel lines down the side of the neck onto the body will allow you to create a centerline on the body for pickups and the bridge. I most cases it is not the exact centerline of the body blank. The string spacing is determined by the nut spacing and the saddle spread. Ideally you will wind up with strings that are equal distance between each other and the outer E strings will be an equal distance away from the edge of the FB all they way down the neck. In your first picture the nut looks like its way off center? Hopefully you are making your own nut and using a bridge with the proper spacing. Most bridges can be tweaked buy adding slots to adjust the string spacing. But this is not always possible on every bridge. A good starting point is 1/8" string distance from the edge. But again it can be closer depending on what you like. Dont expect it to be perfect. If it looks close its close enough. Also realize some of these necks can be cocked from side to side to adjust for the lower string position relative to the neck centerline. This has been mentioned before. So removing the neck and then putting it back on may require an adjustment. Even it it was setup before.

I think you really should look at Caps rather than pots. I have been meaning to setup a test neck and place different caps on a rotary switch so I can see whats changes they make. I have never seen anyone play with pot values as a sound enhancing solution. I think caps give you a quick and cheap way to adapt your sound.

And I thought I was feeling old on this forum..things are looking up. If you guys are that old you should have remembered hide glue... I remember titebond when there was only one bottle..original.. now thats old. I remember when you learned by reading and not the internet..Oh wait there was no internet..OK I'm still old...LOL

bamboo will most likely be an engineered product. I dont believe it is sold like a piece of wood, I have never seen it that way. The biggest pieces I have seen were in a museum and they were carved sculptures. Probably your best best is a overstock flooring company selling it by the box. make sure its 100% bamboo. It also is sold in dark colors and I believe they actually heat the product to darken it. Maybe a few dark stripes would look good in a light neck. bamboo this way is relatively cheap like $2 sq ft.

There is no way anyone would use metal that thick. Etching is a shallow process on metal or glass (not wood )so I have no idea why that was brought up. If its laser cut which is most likely the fastest way to do it, it could be black from the laser. But I dont think they did use one. I would suspect it is just a CNC router period. Its not a fine cut by any measure. The body is cut on the CNC why would anyone bother moving it to a second machine like a laser. Most of these machines have tool changers so it can easly change to a different bit on the fly without missng a step. Sure it adds additiional time to the process but I am sure they charge more. You could do it by hand as chris said but it will take awhile. But much cheaper than a CNC machine

Its not exactly like adding to an electric neck as you are working on the top and have a place to glue to. Honestly it can be done but why. If the FB is close to the sound hole you really cant go over without possibly runing the guitar with all the nonsense you may have to do. I think we should have vote to never discuss extending FB's on guitars as it is usually a bad idea.

read this post http://projectguitar.ibforums.com/index.ph...768&hl=ibex

First the Ibex comes in all shapes curved and flat, and different sizes. That looks like a big one in the picture. The petered plane for carving tops. Depends on what you want to do with it will determine the size and shape. Bigger is not always better with these planes and guitars, the expensive 89mm is way too big and expensive. If you are unsure I know there are threads showing them as I have posted pictures before. Try this thread http://projectguitar.ibforums.com/index.ph...768&hl=ibex Also you can find it cheaper than Stumac $40-$60. http://www.google.com/products?q=ibex+plan...mp;lnk=showlist

First with a few minutes looking at the label Kiso Suzuki and doing some searching on the web the guitar is not worth all that much. In great condition maybe $350. In the condition you show maybe $50 if you are lucky enough to unload it to some sucker. Looks like this was one of the martin lawsuit D28 copy guitars that were all plywood and exported to the US the give away is the martin like logo on the HS. They did make solid guitars but this is not one of them. The fact that it has screws to lift the saddle is not a good sign on most acoustic guitars Maybe if you post some full length and close up pictures we dont have to guess what wood and what model it was??? Honestly the more I hear and find out about the guitar the worse it gets....

The question is is the sand through level with the top or lower. If it is level why is it level, most likely something under the bridge is seperated or not glued any longer and the top has pulled up. The reason is more important than the cure. It is possible the idiot who did this did not realize tops are curved on good instruments and nothing is wrong inside? If its level and everything is tight inside then make an oversided bridge to cover the mess. If the inside is loose or braces hanging you have a real mess on your hands and a new top and braces are probably the only fix. You can also stablize what you have and make a new bridge. Honestly unless the guitar has any value it looks like a loosing situation anyway you do it, other than to practice your repair work. If the guitar is worth money only a new top will do.

Maybe you should read the OP it is a 3M 6800. This is not a crap face mask from the local big box hardware store this actually works. http://www.allergybegone.com/3mfulfac68ga....amp;zmap=3m6800

After using water slide decals I tried a peel and stick polyester product which was printable on a laser printer. Maybe a tad thicker but no chance of it comming up during the top coats. It was also easier to apply and no bubbles formed. http://www.texascraft.com/hps/product.php?...=301&page=1 The issue with the dark color is unless you either cut a white logo to the line you cant print white except on a special printer. If the HS is dark it may be hard to see your decal.

repaint it

For the short time you will need the mask the whole thing about fog is nonsense. Takes about 3- 4 minutes to shoot a guitar with one coat if that long. I dont see any need to suit up if you are just pouring the product into your gun if its well ventilated. Especially with a large mask. If you are so worried about your health I would have picked a product with low VOCs like a water based finish from target coatings. Make sure you have an organic vapor filter installed not a dust filter. A hepa pre filter is a good idea as well. I have the larger 3M full mask and its a great mask. But I dont shoot finishes with it. Your local fire department usually will have a mask seal test they can perform to make sure its adjusted properly. Not sure if this is free or a small charge in your area. If you really care have this done. Well at least in the states it is a fire dept test. Honestly protecting yourself from wood dust may be just as important if your health is at risk. But no need to go over the top here.

Quite so. I'm in the UK and I'm an easy going type, hating any sort of flaming or arguments. Civilised discussions I do like, where one can disagree with another in an amicable manner Anyway, back to Titebond. I've used Titebond to stick open grain veneer down,. The first time was a mess, soaking through the veneer, but then I was given a very useful tip by a furniture maker. Use a rolled up bit of lint free cloth, put a smallish amount of Titebond on the cloth and spread it around (on the cloth, not the veneer!). Once you have a thin layer on the cloth, wipe it sparingly over the veneer, making sure the veneer is covered in a very thin layer. You don't want enough Titebond on there to soak through. Allow to dry, about two hours. Repeat this operation another two times. Now you have a firm dry layer of Titebond on the veneer, which will stop the glue from soaking through. Now you can spread Titebond on the timber you are putting the veneer on. Spread it fairly thin, and as evenly as possible, so you don't have pools of the stuff on the surface. Don't put any more glue on the veneer. There will be enough on the timber to do the job. Now lay the veneer down on the timber, obviously glue side down. Use a length of thick dowel/broom handle to roll the veneer down firmly all over, then clamp in your usual way. You may have to do a couple of test runs on offcuts to perfect it, but it works well. I've put thin veneer on three different guitars, and after leaving for three or four days, successfully stained them with water based stain, applied sparingly, and allowing to dry before applying subsequent coats. Alcohol based stains may start to dissolve the glue as it soaks through, and cause bubbles to form under the veneer, so for that reason, I stick to water based dye. Been awhile since I bothered looking at this thread, seems to have gone downhill. Somehow I am tired of answering glue questions these days. So much information on the web as well and so many products for veneering too. Anyway some of the issues using titebond on veneer is moisture. As mender alludes to in the above post it is the removal of some of that moisture that helps. There are grades of PVA veneer glue with a high solids content (Less moisture) where using a cloth is unnecessary. I am not sure why a water based stain should be better for a water soluble glue? Scratching my head but not saying its wrong.

Sure you can just slap a piece of maple on the end and replace the Fretboard, but its not the best idea or even a good idea. Splitting the neck further up as wezv said and scarfing in a replacement is a better choice. The issue with just cutting off the end and splicing on a piece, is glue surface and grain direction. It would be less than stable (end gran to end grain) and you are mixing new wood with old wood as well. There are other ways like adding a dovetailed splice which will increase the glue surface area plus lock in the wood. Even a tendon would help. To get these two extra frets is it really worth it. You can make a new neck in about the same amount of time it takes to add pieces to an old neck plus it would look better. Yes its a bad idea. IMO

Though I have never experienced it, looks like Blush to me. It may have to do more with your humidity than the product or your compressor. I have read that taking a heat gun to the shellac removes the problem. Gentle heat. http://www.woodweb.com/knowledge_base/Cont...llac_Blush.html

I think most professionals use sand paper and buffing wheels. There is no way to get around sanding out a finish. The EM6000 finish should only take abot 2 hrs to sand out. The 9000 at least 3 hrs due to its hardness. If you want speed invest in a buffing wheel setup. You can stop sanding at lower grits and the buffing wheel polishes the surface in seconds