The Acoustic Guitar Forum

Go Back   The Acoustic Guitar Forum > General Acoustic Guitar and Amplification Discussion > Build and Repair

Reply
 
Thread Tools
  #46  
Old 05-22-2022, 02:52 PM
jricc jricc is offline
Charter Member
 
Join Date: Oct 2009
Location: Jersey Shore
Posts: 4,979
Default

Loving following this rebuild process!
__________________
-Joe

Martin 000-1
Rainsong CH-OM
Martin SC10e sapele


My Band's Spotify page https://open.spotify.com/artist/2KKD...SVeZXf046SaPoQ
Reply With Quote
  #47  
Old 05-25-2022, 05:39 AM
vintageparlors's Avatar
vintageparlors vintageparlors is offline
AGF Sponsor
 
Join Date: Mar 2005
Location: Chester, Vermont
Posts: 1,609
Default 1920s Regal parlor full rebuild: Fretboard - fretting, Step 3

I choose a pau ferro fretboard for most parlor rebuilds because I like the tightness of the grain and it takes a stain finish well. I prefer a darker look to a rosewood fretboard so before the fretting begins I apply 2 alternating applications of Minwax Ebony semi-transparent stain and Zinsser spray shellac. The results of the pre-finish of the fretboard is shown in the first photo. If you checkout my last post you'll see the "before and after" difference in the look of the fretboard.

My approach to fretting is some what analog as compared to most. I purchase medium/medium fret wire by the pound from StewMac and then radius the fret wire to match the fretboard radius. I use a radius'd caul that's made to fit into a press to hammer the frets by hand into place and then cut the long peice of fretwire off each fret as I go. My fretting toolkit consists of radius'd caul, hammer, cutting pliers and flush cut nippers. Photo 1.

Seating the fretboard on a firm, flat surface I start at the highest fret and work backwards to the first fret. If I happen to cut the fretwire too short then I can use it on a shorter length fret. It takes two lengths of fretwire to complete a parlor size fretboard. I position one whole fretwire over the last fret slot and give it a light tap with the hammer on the edge to get the fretwire seated. I leave some excess hanging over the edge to account for any misshaping during the install process. I place the caul over the last fret and hammer lightly but firmly in the center, left and right of the caul until the fret is completely seated. Once seated I use the cutting pliers to cut the fretwire off at the fretboard, but leaving an overhang, and repeat the process until complete. Photo 2 and 3.

Once all the frets are seated in the fretboard, I use the flush cut nippers to trim the overhang "ends" off. I don't want to get too close to the fretboard itself for fear that I'll pinch some wood off in the process. Photo 4.

Although cut fairly flush with the fretboard edge, I want to remove the sharp ends of the frets so they don't get caught on something and rip themselves out. I use an old, worn 240 grit sanding belt on the 4" belt sander to essentially burnish the very ends of the frets just enough to reduce the risk of bad things happening. The sanding belt is so worn that it doesn't take any wood off the fretboard itself as long as my hands are light and steady during the burnishing process. Photo 5.

After the fretting process is complete I have a nice clean fretboard edge with no fretwire overhang and a fretted fretboard ready to mate with the neck(under tape only) to begin the alignment process. Photo 6.

Quick tip: The radius of the fretwire must match the radius of the fretboard. You'll have all manner of trouble if they don't match.
Attached Images
File Type: jpg image0 3.jpg (45.5 KB, 388 views)
File Type: jpg image1 3.jpg (42.6 KB, 379 views)
File Type: jpg image2.jpg (44.7 KB, 378 views)
File Type: jpg image3.jpg (55.1 KB, 378 views)
File Type: jpg image4.jpg (48.7 KB, 384 views)
File Type: jpg image5.jpg (44.6 KB, 383 views)
__________________
VintageParlorGuitars.com Fresh inventory just added, click link at left to view
Reply With Quote
  #48  
Old 05-25-2022, 07:00 AM
srick's Avatar
srick srick is offline
Moderator
 
Join Date: Sep 2007
Location: Connecticut
Posts: 8,176
Default

Quote:
Originally Posted by vintageparlors View Post
I use an old, worn 240 grit sanding belt on the 4" belt sander to essentially burnish the very ends of the frets just enough to reduce the risk of bad things happening. The sanding belt is so worn that it doesn't take any wood off the fretboard itself as long as my hands are light and steady during the burnishing process. Photo 5.
You must have a very good touch. In my hands, that would be called "relic'ing" .

I'm really enjoying this thread. Thank you again.
__________________
”Lorem ipsum dolor sit amet”
Reply With Quote
  #49  
Old 06-02-2022, 06:51 AM
vintageparlors's Avatar
vintageparlors vintageparlors is offline
AGF Sponsor
 
Join Date: Mar 2005
Location: Chester, Vermont
Posts: 1,609
Default 1920s Regal parlor full rebuild: Neck alignment Step 1

Now that the body is whole, the fretboard itself is complete and the neck has been sanded straight, it's time to begin the horizontal and vertical alignment of the neck to the body. Our 1920's Regal already has a footprint of a prior bridge so the goal is to fabricate a new bridge in rosewood to cover the original footprint but be friendly to intonation at the same time. Many times this means making the new bridge with a slightly larger footprint to both cover the original and account for the intonation factor. Beyond establishing the height of the new bridge for simulating purposes, the actual fabrication of the new bridge will wait for a future thread.

I start by securing a threaded insert into the bottom of the neck with 2-ton epoxy. I use a threaded insert to not only allow for a final, solid mating of the neck to the body but also to simulate the horizontal and vertical alignment of the neck to the body before either the bridge or the fretboard is glued into position. Here's a link to a companion thread that goes into the reasons behind how and why I use a threaded insert approach to setting a old parlor guitar neck.

https://www.acousticguitarforum.com/...d.php?t=647343

I use a 8/32 inside thread for my brass insert on the receiving end and I use stainless steel machine screws, lock washers and flat washers on the securing end. Each piece of this assembly is generally available at your local hardware store. I drill a 6mm hole in the bottom of the neck and favor the back end of the heal in its placement. I then ream the hole slightly to ease insertion of the threaded insert as the brass is very brittle and will crack if too much pressure is applied to it when screwing down into place. I apply the 2-ton epoxy in the hole, screw the insert as far as the hole will allow and then clean up the residual epoxy before letting it set overnight. Photo 1.

Once the epoxy has cured overnight I'm ready to drill the neckblock with a corresponding hole that aligns with the threaded insert location on the neck itself. Before I attach the neck to the body I tape the finished fretboard into position thereby simulating a neck assembly but without glue. If my alignment of neck-to-body is accurate then I can slide the stainless steel screw in through the sound hole and screw the neck tight to the body. Photo 2.

This first mating of neck to body tells me how much adjusting needs to be done to the horizontal and vertical planes. "Adjusting" is defined as the degree to which the bottom of the neck heal needs to be sanded in order to achieve a proper/final alignment of the neck to the body. Using a straight edge, 18" rulers and some patience, I begin "rough" alignment starting with the vertical plane. I'm looking to center the neck as close as possible within the body keeping in mind that this exercise is a work in progress and not the final alignment step. My eye is on the original bridge location, sound hole position and condition of the shoulders of the rim at the neckblock.

We know from earlier work that the symmetry of this rim was in terrible condition to begin with so I'm watching to see how much impact this will have on the horizontal neck angle. I make the assumption that the future bridge height will be 5/16" off the top and start sanding the bottom of the neck heal to get close to but not 100% ready to call the alignment process "complete". The neck heal is real close to sitting perfectly flush on the body and the straight edge laying on the fretboard and extending over the future bridge tells me I'm close enough to where I want the bridge height to be to have completed this Step 1 of the neck alignment process. Photo 3.

Next up: rout the channel in the neck for the truss rod.
Attached Images
File Type: jpg image0 3.jpg (63.1 KB, 338 views)
File Type: jpg image1.jpg (50.7 KB, 341 views)
File Type: jpg image2.jpg (23.7 KB, 335 views)
__________________
VintageParlorGuitars.com Fresh inventory just added, click link at left to view
Reply With Quote
  #50  
Old 06-06-2022, 06:39 PM
vintageparlors's Avatar
vintageparlors vintageparlors is offline
AGF Sponsor
 
Join Date: Mar 2005
Location: Chester, Vermont
Posts: 1,609
Default 1920s Regal parlor full rebuild: Neck alignment/truss rod, Step 2

If I had the choice I prefer to rout the neck for the truss rod after I remove the old fretboard but before the neck is removed from the body. In this case, the neck on this old Regal was already dangling by a thread so my 2nd choice for routing the truss rod channel if a neck is dangling is described herein. Keep in mind that there are many different approaches to routing a channel in the neck to accept a truss rod. The approach I use works well for me.

I've previously worked on a rough version of vertical and horizontal alignment of the neck to the body. This step introduced a threaded insert that's been epoxied into the dovetail and which allows me to attach the neck to the body.

With the neck firmly attached to the body I can remove the tape holding fretboard onto the neck, which leaves me with the exposed neck surface ready for the truss rod channel. I determine the centerline down the middle of the neck then mark the width of the truss rod itself so I can be sure I'm routing straight with proper start- and end-points. I extend the centerline to the end of the guitar body to make sure my rough neck alignment isn't too rough. If the alignment looks good then I'm ready to fire up the router. Photo 1.

I use a Bosch "COLT" brand router. I don't do much routing besides the truss rod channel so this little "COLT" model is a perfect size and strength for what I need. My routing "jig" consist of a long section of aluminum box stock and two ratchet clamps. The aluminum "bar" serves as a fence to guide the router up and down the neck. To determine the position of the "bar" I retract the router bit so that the router itself can sit flush on the neck and position the bit as close to the centerline as I can see. I eyeball the position of the aluminum bar offset from the centerline and with some trial and error, get to a point where the "fence" is parallel to the centerline but also offset to accommodate the router base so it can rout the channel where I want it to. When I'm certain everything is accurate then I clamp the bar into position through the sound hole. Photo 1.

Before I dig into routing the channel too deep, I take at least one pass with the router turned on but with no bit showing. I move the router up and down the neck until I'm 100% sure everything's ready for the bit to be lowered. My first pass for real has the bit lowered only enough where I can see where the channel will be. This pass is only paper-thin deep but it gives me one last chance to make adjustments before go whole hog and make a long, deep mistake in my innocent, vintage guitar neck. Photo 2.

Things I keep in mind as I progress through the routing process:
  • take many passes as required but with as little material removed as practical each time;
  • always check alignment before the next pass;
  • measure depth of the channel as you go;
  • remember that the truss rod adjusting mechanism is both wider and deeper than the channel will be;
  • once the channel is finished and special attention is given to accommodate the truss rod adjusting mechanism, test fit your truss rod in the channel;
  • make sure the truss rod itself is "flat" (no bend) when test fitting in the channel.
The final inspection should show the truss rod surface and the flat neck surface to be just a hair shy of flush. Photo 3.

I pay special attention to what's happening at the neck block because that's the spot where a little tweaking might be needed to keep that end of the truss rod from poking up above the flat plane of the neck and fretboard extension. Once the truss rod passes the "test fit" stage, I try out the truss rod wrench to make sure everything fits proper and works well. Photo 4.

This approach to routing a truss rod channel takes lots of practice and lots of patience. Be sure to checkout other approaches so that you can make an educated decision on which approach is most comfortable for you.
Attached Images
File Type: jpg image0 3.jpg (51.4 KB, 311 views)
File Type: jpg image1.jpg (45.2 KB, 315 views)
File Type: jpg image2.jpg (48.4 KB, 318 views)
File Type: jpg image0 7.jpg (50.9 KB, 318 views)
__________________
VintageParlorGuitars.com Fresh inventory just added, click link at left to view
Reply With Quote
  #51  
Old 06-10-2022, 04:07 PM
vintageparlors's Avatar
vintageparlors vintageparlors is offline
AGF Sponsor
 
Join Date: Mar 2005
Location: Chester, Vermont
Posts: 1,609
Default 1920s Regal parlor full rebuild: new Bridge fabrication

Let's take a short break from the neck alignment process and make the rosewood bridge we'll need to complete the alignment process. The original bridge on this guitar was dyed poplar. We'll replace the poplar with rosewood but keep the general design vibe as best we can. My 1st choice for rosewood bridge material is generally rosewood fretboard blanks. These come in various lengths but are generally 3"-4" wide and around 1/4" to 3/8" thick. Buying rosewood for bridges in this fashion gives me flexibility to fabricate many different bridge styles, whether it's a 1" wide parlor bridge or 2" wide replacement bridge for Gibson LG flattops AND I don't have to buy one bridge blank at time.

The original bridge footprint on the Regal's top is my guide to sizing the rough bridge blank. I want the new bridge rough cut to at least 1/16" wider and longer than my final, finished bridge. This gives me enough material to sand smooth during the final shaping stage. Photo 1 shows the "AGF" marked bridge blank for the Regal alongside a sample finished bridge to show the style bridge we're shooting for.

I want to create the "wings" on each end of the bridge first. Each measures 1 3/8" inches from the outer edge and I like to leave just shy of 1/8" thickness showing at the outer edges. I can't hold the camera and shape the bridge at the same time so the next step is sadly offered in words and not pics. Photo 2.

To create the taper, I turn the bridge blank upside-down on the edge of the 4" belt sander to sand the blank down to 1 3/8" from the edge and 1/8" thickness at the edge. Of the few tasks it takes to make a simple pin bridge, this one task takes the most practice to master. Getting the desired taper at each end as well as the shape you want is something you don't want to rush or be distracted doing, otherwise, you waste allot of good wood as a result. Photo 3 shows the new bridge with the taper at each end.

I mark the front edge of the new bridge with an "F" in pencil to remind me that this is the side facing the sound hole. To create the look and style I want for this bridge I need to roll the back length of the bridge to create the final shape that you see in the sample bridge from the first photo. I draw a line behind which I want to stay in creating the rolled back length. Photo 4.

Back to the belt sander, I place the long edge of the bridge at a 45 degree angle and slowing "roll" this edge back and forth, lengthwise, using a 150 grit belt. Photo 5 shows what the "roll" looks like in profile view.

When I'm finished with this step, the bridge looks pretty close to the shape, style and look I want. Save some final sanding with 220- and 320- grit belts, Photo 6 shows what the bridge will look like when glued to the guitar top.

Quick tip: Making a rosewood bridge in this style takes me about 15 minutes using a blank that's already cut to size and thickness. It doesn't take long to make but it does take practice. I always encourage customers willing to take a stab at their own repairs to include bridge fabrication as a skill to develop. You don't need to use rosewood to work on your technique for making a simple acoustic pin bridge. Once you've mastered the technique that works for you, it will open up other opportunities that you'll feel much less worried about messing up because you know it can be done and done well with some practice and patience while working in your own home workshop.
Attached Images
File Type: jpg image0 5.jpg (32.8 KB, 279 views)
File Type: jpg image1.jpg (33.3 KB, 280 views)
File Type: jpg image2.jpg (32.2 KB, 273 views)
File Type: jpg image3.jpg (36.5 KB, 282 views)
File Type: jpg image6.jpg (29.9 KB, 284 views)
File Type: jpg image4.jpg (34.6 KB, 289 views)
__________________
VintageParlorGuitars.com Fresh inventory just added, click link at left to view
Reply With Quote
  #52  
Old 06-13-2022, 08:40 AM
Dizzle Dizzle is offline
Registered User
 
Join Date: Jun 2022
Posts: 10
Default

�� terrific thread. Thank you for taking the time to share all of this.
Reply With Quote
  #53  
Old 06-13-2022, 09:53 AM
jricc jricc is offline
Charter Member
 
Join Date: Oct 2009
Location: Jersey Shore
Posts: 4,979
Default

Loving this transformation, thanks for sharing!
__________________
-Joe

Martin 000-1
Rainsong CH-OM
Martin SC10e sapele


My Band's Spotify page https://open.spotify.com/artist/2KKD...SVeZXf046SaPoQ
Reply With Quote
  #54  
Old 06-15-2022, 06:27 PM
vintageparlors's Avatar
vintageparlors vintageparlors is offline
AGF Sponsor
 
Join Date: Mar 2005
Location: Chester, Vermont
Posts: 1,609
Default 1920s Regal parlor full rebuild: Neck alignment/bridge glue, Step 3

Thanks for the feedback. Let's take a minute and glue down this bridge.

Having a footprint of a prior bridge to guide you can be both a curse and a blessing. On the one hand it gives you some sense as to where the bridge will go. On the other hand, early parlor guitars were/are notoriously out of touch with what we know to be proper intonation today. Simply put, the original bridge location is not likely to be the proper bridge location(which is true). I've made the new bridge a wee larger than the old footprint size so that we can both hide the original footprint AND position the bridge so that it contributes to the proper intonation of the guitar.

Photo 1 shows my Rube Goldberg system of laying out for bridge placement. The layout of the 3 rulers in the photo provide the measurements I need to finalize where the bridge will be glued to the top. Before the bridge layout begins, here's what we've done already: I've roughed out the vertical and horizontal angles for the neck using a mock bridge location as my guide. The fretboard is taped tight to the neck and the neck is fastened tight to the body.

We have a 24" scale length to work with so I want the front edge of the bridge to be 12" from the crown of the 12th fret. The ruler touching the front face of the bridge allows me to move the bridge from side to side until I'm good with where the final position will be. The original bridge on this Regal was not centered in lower bout nor was it positioned so that the strings sit equally between the outer edges of the sound hole. I've learned that compromise is the only answer to making the geometry work. So in the end, the bridge is closer to the middle of the lower bout than before but will at least be the proper distance on the parallel from the 12th fret. Photo 2 shows the perimeter of the final bridge location wrapped in tape.

Inside the tape is where the bridge will be glued to the top. Before we glue, we clean. The mating surface between the bottom of the bridge and the top of the guitar must be as clean, fresh and uniform as possible. This means that any old finish, glue residue, divots, etc. must be removed so that we've got good wood on both features to spred the glue. Photo 3. I start with a small chisel with angled edge followed by 80 grits sandpaper and then 120 grit to finish.

The area under the new bridge is all clean and ready for glue. I use Titebond regular formula and a flux brush. I apply a light coat to both surfaces and wait 30 seconds or so to let the glue set up a bit before setting the bridge in place. Photo 4.

I've learned that trying to clamp the bridge in place just after placing it in position is a bad idea. The glue underneath is still soft and the bridge moves and floats all over the place, out of control and with a mind of it's own. I rest a heavy gauge piece of steel on top of the bridge, applying some static, but light, pressure and wait a minute or so to give the glue a chance to settle down and behave. I've set the top caul out next to the bridge so that everyone knows what's happening next. Photo 5.

Photo 6 shows what I use to get things going. The clamping caul for inside the guitar(underneath where the bridge will be clamped) is preset for 20' radius insofar as that is the radius we used when bracing of the top. With the bridge resting in position I remove two sides of the blue tape and use the remaining two sides to monitor any movement in the bridge once the clamps are tightened. The skinny clamp in the photo is only used to "capture" the clamping caul inside until I can bring out the real, big boy clamps. The reason is this: my hands are too large to fit inside the sound hole along with the big boy clamps so I use this skinny clamp just to hold the inside caul in place and then swap it out afterwards with the bid boy.

With the skinny clamp holding the inside caul in position and the topside caul on the bridge, I insert the big boy clamp in the sound hole and roughly center it in the middle of the bridge. Photo 7 shows skinny boy and big boy side-by-side.

Photo 8 shows all five clamps doing what they love to do best. With the bridge glued to the top we can revisit neck alignment and dial in the vertical and horizontal angles to the permanent, fixed bridge.
Attached Images
File Type: jpg image7.jpg (45.7 KB, 227 views)
File Type: jpg image6.jpg (42.9 KB, 223 views)
File Type: jpg image5.jpg (44.5 KB, 227 views)
File Type: jpg image4.jpg (43.9 KB, 235 views)
File Type: jpg image3.jpg (42.4 KB, 227 views)
File Type: jpg image2.jpg (45.3 KB, 227 views)
File Type: jpg image1.jpg (46.2 KB, 229 views)
File Type: jpg image0 3.jpg (50.7 KB, 223 views)
__________________
VintageParlorGuitars.com Fresh inventory just added, click link at left to view
Reply With Quote
  #55  
Old 06-16-2022, 05:21 PM
Dave Abrahamson Dave Abrahamson is offline
Registered User
 
Join Date: Apr 2014
Location: Safety Harbor, FL
Posts: 445
Default

You say you position the front of the bridge 12" from 12th fret for 24" scale.
Wouldn't that be the saddle that is measured for scale length?
__________________
Early Ovation classical
2001 Taylor 355
2002 Taylor 308 BB
2004 Taylor 214
2011 Taylor GC4
1964 Fender Stratocaster
1965 Fender Jazz Bass
Fender Twin Reverb
Reply With Quote
  #56  
Old 06-16-2022, 06:17 PM
vintageparlors's Avatar
vintageparlors vintageparlors is offline
AGF Sponsor
 
Join Date: Mar 2005
Location: Chester, Vermont
Posts: 1,609
Default

There's always some degree of compensation beyond halving the scale length from the 12th fret and plotting(or praying) for proper intonation. This "degree" changes depending on the scale length of the guitar. Not as much compensation is necessary for a 25.5" scale length as there is as the scale length gets shorter.

With a short scale length of 24", I locate the front face of the bridge 12" from the 12th fret and then add 1/8" to the treble side to establish the front face of the saddle at the high E string. On the base side I add 1/8" plus another 3 mm to locate the front face of the saddle at the low E string.

When I first started taking this vintage parlor repair thing seriously, it was hard for me to understand how to plot the saddle location based on the scale length of the guitar AND its effect on proper intonation. I know there's plenty of material written on the subject but I couldn't it get it to stick in my brain just reading about it. Only after a ton of experimentation did I finally understand how it works and what needs to happen to plot the saddle position based on the scale length of the guitar. I can honestly say I still don't know why it is the way it is but my brain and I are still working on that.
__________________
VintageParlorGuitars.com Fresh inventory just added, click link at left to view
Reply With Quote
  #57  
Old 06-17-2022, 05:36 PM
Dave Abrahamson Dave Abrahamson is offline
Registered User
 
Join Date: Apr 2014
Location: Safety Harbor, FL
Posts: 445
Default

Great explanation. Thanks!
I love learning new things.
__________________
Early Ovation classical
2001 Taylor 355
2002 Taylor 308 BB
2004 Taylor 214
2011 Taylor GC4
1964 Fender Stratocaster
1965 Fender Jazz Bass
Fender Twin Reverb
Reply With Quote
  #58  
Old 06-20-2022, 06:49 PM
vintageparlors's Avatar
vintageparlors vintageparlors is offline
AGF Sponsor
 
Join Date: Mar 2005
Location: Chester, Vermont
Posts: 1,609
Default 1920s Regal parlor full rebuild: Bridge string spacing

Thank you, Dave

String spacing at the bridge is largely a function of the widening of the fretboard from the nut to the finished end at the sound hole. As the fretboard widens, and being sure to leave enough room at the very edge so that the outer strings don't fall off the fretboard when played, we can calculate a reasonable string spacing at the bridge. This calculation will vary from guitar to guitar but on this Regal it looks like the string spacing at the bridge can be 2 1/4".

Our bridge is a little wider than most so we have ample room to located the bridge pin holes and accommodate the future saddle slot with plenty of room between the two for a proper break angle over the saddle. The first thing I do is tape over the area that will host the bridge pins holes. This will help minimize damage from drilling and/or reaming. I find the centerline between the two tapered ends of the bridge and measure 21mm back from the front edge of the bridge. Then I'll establish the low E string hole to be 1 1/8" from the bass side of the centerline and the high E string hole to be 1 1/8" from the treble side of the centerline. I use my trusting StewMac string spacing rule and mark the remaining four string positions between the two outside strings with a sharp probe. I drill a pilot hole for each string hole using a 5mm brad point bit. Photo 1.

After the pilots holes are drilled I can taper the each hole with a reamer to correspond with the taper of the bridge pins I'll use. Before I finish this step I'll use the Dremel tool with a 3/32" mill end bit and make a groove in each hole to accommodate the gauge of each string. Although I use slotted bridge pins it makes for a easier fit as the groove helps each string sit snug in the hole but without binding. Photo 2.

Once the bridge pin holes are finished, I tighten the neck assembly with threaded insert to the body and use a surrogate saddle to stand in until I'm done with the final vertical and horizontal neck alignment and I'm ready to slot the bridge for the permanent saddle. The 1/8" thick surrogate saddle rests on top of the bridge and is held in place by the downward pressure of the strings. This temporary saddle can move back and forth or be angled to test intonation. I find this method helps eliminate the guess work to plotting the final saddle position correctly for the best intonation possible. Photo 3 shows one of the surrogate saddles sitting on its side. Photo 4 shows the same saddle resting on top of the bridge with a test set of strings keeping it snug in place.

Next we'll finalize neck alignment with an eye to establishing the desired action at the 12th fret.
Attached Images
File Type: jpg image4.jpg (41.3 KB, 150 views)
File Type: jpg image3.jpg (46.1 KB, 154 views)
File Type: jpg image0 3.jpg (47.7 KB, 152 views)
File Type: jpg image8.jpg (48.8 KB, 152 views)
__________________
VintageParlorGuitars.com Fresh inventory just added, click link at left to view
Reply With Quote
  #59  
Old 06-21-2022, 04:31 PM
MoePorter MoePorter is offline
Registered User
 
Join Date: Aug 2019
Posts: 22
Default

Quote:
a surrogate saddle
Ah...brilliant. Why didn't I think of that?
Thank you so much for sharing the details of your process, it's very generous & I appreciate it. I have a good idea how much effort it takes to produce this very high quality posting & I applaud your effort. Thanks!
Reply With Quote
  #60  
Old 06-27-2022, 04:15 PM
vintageparlors's Avatar
vintageparlors vintageparlors is offline
AGF Sponsor
 
Join Date: Mar 2005
Location: Chester, Vermont
Posts: 1,609
Default 1920s Regal parlor full rebuild: Neck alignment/bridge slotting, Final step

Thanks, Moe. I know there's lots of people waiting to hear what this guitar sounds like, including me, so I for one am ready to finish this project so we can all have a listen.

Before I make any more neck alignment adjustments, I want the saddle slot routed and the new saddle fitted so that my "target" is guiding the horizontal and vertical fine tuning of the neck. I've already shared my approach to determining the saddle location and angle for the Regal's 24" scale length so let's plot it out on the bridge and get setup to rout the slot.

There are many ways to approach this task but my preference has always been to slot for the saddle "after" the bridge is glued down. I don't believe there's a right way or a wrong way but this way has always worked for me.

I use acrylic clamping cauls on either side of the bridge to elevate the Dremel router with 3/32" mill end bit above the bridge. A smaller caul sits on top, angled parallel to the front edge of the future saddle slot and is secured with a ratchet clamp in the sound hole. This caul guides the router base as I pass it back and forth between two taped limits on either end of the future slot. Photo 1 shows an aerial view of the whole setup while Photo 2 shows the pencil line representing the front edge of the new saddle slot.

The acrylic cauls offer a smooth surface for the router base to move back and forth between passes. I move slowly and carefully making sure the router base has constant pressure against the fence. The depth of the slot is determined in part by the depth of the bridge. Photo 3 shows the saddle slot now routed and Photo 4 shows a bone saddle blank ready for sizing and shaping.

I get my saddle blanks from David Warther, who offers an assortment of bone materials with consistent quality and good service. I cut the blank lengthwise leaving plenty of extra material at the ends for final shaping on the sander. I use a worn 80 grit belt to take the bulk of material off the bone saddle blank and then use flat files to perform the fine tuning. I first fit the saddle to the slot (Photo 5) and then I shape the saddle to the height I want (Photo 6). My surrogate saddle in the previous post helped determine where compensation is needed so I went ahead and made that happen on the permanent bone saddle as well.

QUICK TIP: By leaving sufficient saddle height now for future adjustments, much hassle and worry is saved by being able to lower the saddle, and not the bridge, to maintain the desired setup. The upcoming tension test may suggest otherwise so it's always a good idea to listen to what the tension test tells you before you glue the neck to the body. More to follow soon...
Attached Images
File Type: jpg image1 5.jpg (42.7 KB, 96 views)
File Type: jpg image0 7.jpg (36.2 KB, 96 views)
File Type: jpg image2 5.jpg (36.9 KB, 96 views)
File Type: jpg image3 4.jpg (38.1 KB, 96 views)
File Type: jpg image4 2.jpg (41.5 KB, 97 views)
File Type: jpg image5.jpg (43.4 KB, 99 views)
__________________
VintageParlorGuitars.com Fresh inventory just added, click link at left to view
Reply With Quote
Reply

  The Acoustic Guitar Forum > General Acoustic Guitar and Amplification Discussion > Build and Repair

Thread Tools





All times are GMT -6. The time now is 07:28 AM.


Powered by vBulletin® Version 3.8.11
Copyright ©2000 - 2024, vBulletin Solutions Inc.
Copyright ©2000 - 2022, The Acoustic Guitar Forum
vB Ad Management by =RedTyger=