#61
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Quote:
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Bryan |
#62
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I frequently use a .025" and a .020" together (along with a thinner gauge as required) and these two don't bend. Then again, I don't use them with the strings on ... my approach, which is different from yours, is to rough the slots down to <.008" above final height with the strings off, and then, with the strings on and up to pitch, finalise each slot by feel. Chacun a son gout ... |
#63
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JLT quoted Bill Cumpiano as saying:
"The master has persevered past the errors until he's made all of them." The problem with that is that errors are endless: you will never make all of them. What does happen is that the errors you make become less and less egregious in an absolute sense, while, at the same time, being more and more galling. As Dante said in the 'Divine Comedy' (Chardi's translation):"The closer a thing is to perfection the more it feels of pleasure or of pain". As your guitars get better the little things that didn't used to bother you become bigger issues, and you spend more time chasing those last problems. Perfection is, of course, asymptotic; you can get halfway from where you are to 'perfect' by simply doubling the effort you've already put in. If 50% takes a hundred hours, 75% takes 200, 87.5% takes 400, and so on. At some point you declare victory and move on, but you will never stop making mistakes. |
#64
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---- Ned Milburn NSDCC Master Artisan Dartmouth, Nova Scotia |
#65
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Anyone who has worked with wall mud knows that after several applications or coats When everything is 110% perfect, you then spray primer after which you can see how terrible it looks and fix it again.
Whats left after the final coat of finish are the only true mistakes. Those are the ones that give something it's character and makes it uniquely yours. |
#66
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But basically with drywall taping, a scratch coat is laid down, bedding the tape at the joints. Second coat builds on this, as there is shrinking and it doesn't have to be perfect. The final coat is done with a broad knife and feathers out the previous two coats, namely at the butt joints. But basically you get good because you learn fast that sanding just plain sucks! |
#67
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i don't make mistakes a lot, but when i do, they more then make up for it. |
#68
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Louie When I tape It's tape and two coats then touch up then texture no sanding, but unless it's smoothwall which does take sanding for me; it's never perfect. It is an illusion of perfect I guess I could have found a better analogy, but I was talking smoothwall, and it's difficult to see some shadows untill it's primed. At least it is for me.
Last edited by gpj1136; 11-12-2014 at 11:46 PM. |
#69
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__________________
A person who has never made a mistake has never made anything |
#70
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May I chime in?
If I'm setting an acoustic up and it's time to do the nut, (I address the saddle first) I do it all using touch on the first fret. Basically I figure the whole point of playing a guitar is to physically play it, so I press each individual string and then if necessary file, until I only have to touch the string to make contact with the fret. If you cut too low it's easy enough to fill with a bit of glue and baking soda or flour etc, or if you have any dust over from the cut use that. I then gently widen the slot (if necessary) so the string can be tuned up or down without snagging, and finally add some vaseline from a lip balm, or what ever is lying around. Some use a bit of pencil lead but it is messy and you don't need it. The type of touch is generally the same gap above the 2nd fret if you press the 1st, and a touch lower if it's staying in the tuning it's cut in. If you change tuning a lot I leave it slightly higher, and just adjust the truss rod if needed for each new tuning. Your nut is only as good as your saddle so getting both right is key. I've never heard a Feeler gauge play guitar so until they show me they can play a melody I tend not to use them. Having big gaps between your string and the fret is going to cause contact latency and throw your natural timing out as you subconsciously compensate, so for me a buzz is my friend, as it tells me that backing off a touch will be perfect, and over time you get your natural feel for action height. ...... or something like that. |
#71
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The only thing I can add is a quote, ascribed to Voltaire: "Do not let the best be the enemy of the good." In other words, do your best, but if your best isn't perfect, don't let it bug you too much. My father was a master of that.
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Yamaha FG-411-12 String Oscar Teller 7119 classical (built in 1967) and a bunch of guitars and mandolins I've made ... OM, OO, acoustic bass, cittern, octave mandolin, mandola, etc. ... some of which I've kept. |
#72
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Applicable to most any fretted instrument:
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