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Setch

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Everything posted by Setch

  1. Setch
    I either: a. Roll the strap up, and tuck it in the cutaway. or b. Trap it between the neck and the stand. This stops the strap hanging around as a snag/trip hazard.
  2. Setch
    http://www.setchellguitars.co.uk/ant/blog/?p=121 That's how I do it, and everyone who has tried it seems to like it.
  3. Setch
    On the occasions I've used CA to pore fill or finish, I've simply wiped it on with a finger. You *must* keep it moving, otherwise the consequnces are as unpleasant as they are predictable. After you're done, soaking you hand in warm water will allow you to peel the CA off your finger in large pieces.
  4. Setch
    +1 You will needc a bending iron for any tight radii.
  5. Setch
    You like? Have another one Here's the same set of bodies all cleaned up after using the router and template:
  6. Setch
    +1 Plane and glueup within minutes or hours, use regular titebond, and don't worry about wiping, I'm also a fan of the Setch mothod of scarf gluing, but that shouldn't really be surprising
  7. Setch
    As others have said, hog the cavity out with a forstner bit, then clean up with a router. You can freehand it for one off designs, or use a template for a cleaner look.
  8. Setch
    I'd recommend not splining it - you simply don't get the clamping pressure for a good glue joint when using splines, and you have to remove glue joint area from the repaired joint. Same goes for dowels. When reassembling the joint, look for any little splinters of fragments which can interfere with it going back together perfectly aligned - you may have to remove some 'hairy' sections to get it to fit cleanly. Do this *very* sparingly, and slide it together, and as Doc' says, tap it to final fit with a rubber mallet. For finish touchup, shellac will go over pretty much everything, and is a good way to even out areas which you need to sand. A light application, rubbed with fine steel wool may work to blend the repair.
  9. Setch
    Thirdstone, I fear you will have problems with the acetone soaking of binding - when binding is soaked in acetone it will swell up, and it takes a *very* long time to return to it's natural size. If you scrape or sand flush before this, you will find that the binding shrinks past the edges of the wood, so you end up with binding which is narrower than the binding channel. This swelling can occour if you use an acetone based adhesive, so I'd imagine it will be even more of an issue if you're actually immersing the entire binding strip.
  10. Setch
    Almost there, but not quite. That approach may work for a DC single cut, or a design where the binding can vary in height, but it aint going to cut it on a LP. If you look at you final drawing, the fretboard would be sitting below the binding, well into the mahogany below. You first step is correct, but the next step is to calculate neck angle. You consider the top of the binding to be the 'face' of the guitar, and consider the thickness of the carve as part of your bridge, so the bridge height you use is bridge + carvetop - fretboard thickness. Mark this on you drawing, then draw a straight line connecting the top of the binding to the bridge height mark. This is you neck angle. Then, it's as simple as plaing a straight surface bewteen the bridge and the end of the fretboard.
  11. Setch
    Ditto. Your problems stem from trying to hold the template down to a surface which isn't flat, or which is contaminated somehow. I use 3M doublesided tape, common or garden variety, and often quite sparingly. If I have any concerns about the tape slipping, I clamp the template down for a few minutes which I get the other tools I need sorted. I often need to use a wide chisel and pry the template off the body afterwards! Like Mattia, I use screws where possible, just because it makes removal easier, and I don;t have to risk damage to the template getting it unstuck.
  12. Setch
    When you plane the 'pickup plane' you only plane the area between the bridge and the end of the fretboard. The neck angle is left untouched, and the bridge mounting postion is also untouched. All you are doing is creating a flat area between the bridge and the neck to mount your pickups on.
  13. Setch
    Cherokee - yes, I usually thickness a piece about 1/4" wider in all dimensions, so any blow out or chipping at the egdes will be removed.
  14. Setch
    I start with a piece rough cut to size, and get one side flat, either by sanding, planing, milling - what ever suits that piece. Then, I stick it down to a flat board with doublesided tape, and work it down with the router. The only real danger spot is at the edges - you can blow off a corner quite easily if you don't consider the cutter rotation when moving around the edges. Once it at the thickness I want, I go over it with a sanding block or scraper to remove the machining marks, then pop it off the backing board with a thin spatula.
  15. Setch
    You can use a router thicknessing jig to take wood right down to 1mm or less. You need to take small passes, removing a little thickness at a time, but it works really well with a little care.
  16. Setch
    I admire the effort that's gone into it, but it seems like a very eleaborate way of doing something which is achievable in about 5 minutes with a sharp bench plane, or a simple router jig. IMO, there is no simpler way to do a scarf joint than with a handsaw and a jack plane, and they produce a perfect gluing surface, without the risk of scalloping or burnishing which a rotary planer can produce.
  17. Setch
    It will disolve it, but you can seal the sig' with extremly dry (dusty dry) coats, then apply a more flowed out coat once the dry coats have built up a protective layer. Experiment on scrap to see how wet you can go without redissolving the dry coats, and if in doubt go conservatively.
  18. Setch
    I used to use the router jig, and now I just use a hand saw then clean up with a sharp plane.
  19. Setch
    In contrast to most folks on here, the blue dragonfly didn't really catch my eye - nothing wrong with it, but it just didn't do it for me. This however, presses all the buttons I have, at the same time. And some more I wasn't aware of. Simple, beautiful lines and gorgeous wood - what's not to love?
  20. Setch
    heh - there is a middle ground between selling and burning - that's something to shoot for!
  21. Setch
    It would be a shame if you can't get the iron working on the jointer - my wooden marples jack plane is a fantastic tool, and so light compared to a metal bench plane. Greta iron too - nice and thick at the leading edge, and holds an edge very well.
  22. Setch
    Seriously reconsider selling this instrument. Even if it's going to a friend, there is still potential for it to haunt you further down the line. It's great that people want to get you to build them a guitar, but you need to say 'no' very firmly until you can build one which is going to knock their socks off.
  23. Setch
    Ooooh.... plane envy. ('cept for the Silverline... you can keep that one ) That wooden jointer looks like a beast!
  24. Setch
    Um, poly is hard to buff out because it's hard, not because "the scratch patterns are so unueven because its a layer of 2 seperate substances joining together that scratch at different .....conditions(?)". That's utter, utter guff, and I have no idea where you got it from. Also, HVLP is no better at laying down a smooth film of finish than a stadard gun, it simply requires less air and wastes less finish in the form of overspray.
  25. Setch
    You can also line your clamping cauls with brown parcel tape - not even CA glue sticks to that stuff
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