#181
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The bare wood, beneath the bridge, gets an application of Hot Hide Glue:
The BRW bridge is clamped in place (within 20 seconds of applying the hot hide glue): Before the squished out glue gels (in ~30 seconds), excess glue is washed off with hot water: The neck and fingerboard extension gets (hot hide) glued in the same time frame. After the glue dried over night I chalked the fret board: In preparation for sanding the "differential relief" into the surface of the fret board: Then we clean the wood dust and glue out of the fret slots: The topside (of this picture) shows that glue has been removed from the fret slots but there is still glue to remove from the fret slots (in the bottom of the picture): |
#182
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Been awhile away from the forum, so I haven't followed the whole build. Amazing coco. Since red spruce is usually stiffer than Sitka, and Torrefied spruce stiffer than non torrefied (in my limited experience), did you find the top extra stiff? Sorry if this has already been answered. Russ
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#183
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Quote:
What I noticed most is the stiffness went up a little but the weight went down considerably more. The tone is also significantly warmer than new red spruce with a dry and very vintage tone. I sent quite a bit of my wood to be processed and I was able to weigh and measure stiffness data before and after torrefaction. |
#184
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Thanks, that's very interesting. I knew they were stiffer, but only wondered if they would be lighter. I saw some heavily roasted red oak, and it was quite light weight . Light , stiff, warm vintage sound, what's not to like !!
Russ |
#185
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Cutting each fret to the appropriate length:
Both ends of each fret gets nipped to clear bindings: The underside of each nipped fret end are then filed flat to allow the fret ends to fit flush on top of the bindings: Pressing frets in place: Gluing frets in place: After the glue dries we will dress the frets: |
#186
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While I will never personally make a guitar....I absolutely love learning about all of the process.
Your detailed information has been so enlightening. Thank you so much! Can't wait to see one of your guitars at the Dr. Booth! |
#187
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Quote:
I’m used to seeing 2000 grit sandpaper used on crankshaft journals,but had no idea anyone used it on wood. Wow, the things I’m learning here!
__________________
It won’t always be like this. |
#188
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Quote:
2000 is my last sanding grit before the body meets the buffing wheels. BTW, I leave the back of the neck shaft at 2000 grit because it leaves an excellent satin finish which your fretting hand resists sticking to. It’s a very silky and smooth surface that most of our players have come to appreciate. |
#189
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Love the 3 -5-9 fret markers. !! Never would have thought of it. But so classy.
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#190
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Hi Tim, looking good. As always I learn something, see things that makes me think, find I have some questions. I like your fret press but it has me wondering, how do you use it on the heel ramp. Nice selection of brass radius cauls.
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Fred |
#191
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Thanks Russ but I can't take credit for the fret marker design. It was our customer's idea and I think it ties in really well with the overall theme. As time will reveal, not only does the guitar have a slightly vintage-esque theme but also one that goes back some 2000 years ...
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#192
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Quote:
Its a technique that I learned from a set up class I took from Dave Collins and Hesh Breakstone of Ann Arbor Guitars (HIGHLY recommended BTW). I bought the brass caul set from them, while I was at the class. The brass cauls were made by Andy Birko, I think? Dave and Hesh teach a technique which they call "Differential Relief". They claim they are able to set up guitars with equal or better accuracy than a Plek Machine. Its a tall claim but now that I've learned the method I totally agree. I am able to set up my necks with super low (but playable) action than ever before. I've had some Plek'd guitars pass through the shop and I much prefer Differential Relief now. It's a LOT of work, to get it right, but well worth it IMO. I've done it on our last dozen or so guitars and it will be our standard going forward. |
#193
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While the frets are drying we set up the bridge, if I can ever get me arm out of the sound hole?
Drilling the pin holes, through the top and bridge plate: Sawing bridge pin string slots: Ramping the string slots: Filing a radius on the bottom of the pin slots, to fit each corresponding string diameter: And a final sanding of the BRW bridge: |
#194
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I'm pretty sure the McKnight Facebook page already let the cat out of the bag on this one...
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#195
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Shhhhh. I'm not as fast at posting pictures as my better half is.
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