Build Thread - McKnight Mini Mac (SJ) !

[canuck7]

There is a .020” thick shim under the saddle now to provide slightly higher action for a more aggressive string attack. The shim can be removed to lower the action for delicate finger style playing:



With the shim in place the action at the 12th fret measures .080” at the bass E and .050” at the treble e string.



I have recently become really interested in string height - mostly because I'm going back and forth between a classical guitar and an acoustic, and I find the string height on my classical very high (and it is by classical standards!). Larry Pattis told me awhile ago that the standard fingerstyle action for acoustic is 12th fret 3/32 (0.09375in) bass E and 2/32 in (0.06in) treble e. I also know that the recommended lowest setting by K Yairi for an acoustic is 2.3mm (0.09 in) bass E and 1.8mm (0.07 in) treble e.

This guitar with the shim in place has slightly lower settings than both of these actions, and without the shim, it would be lower still...can you play fingerstyle with action at 0.06" bass E and 0.03" treble e without buzzing, or just how delicate do you have to play...just wondered!!

[Tim McKnight]

Hi Canuck,

You might have noticed the M and L on my StewMac string gage in the picture above. Stewart McDonald considers .110” - .080” to be Medium action and .090” - .070” to be Low action (for steel strings) measured at the 12th fret. These are only guidelines and the actual action measurements will be mostly dependent on the aggressiveness of each person’s unique string attack.

I am able to set my actions considerably lower due to the use of “Transitional Relief” that I sand into the fret board before installing the frets. I sand the treble side nearly flat and then transitionally sand a gradual and increasing relief from the treble side of the board to the edge of the bass side. Since treble strings move less then that side of the board can be nearly flat but with a hint of relief. The bass strings move a far greater distance and that side of the board can benefit with more relief. Since the strings graduate in diameter and increase in the amount of oscillating movement in makes perfect sense to graduate that transitional relief into the fretboard itself.

With the shim out it’s not a linear .020” drop at the 12th but only about 1/2 of the saddle shim thickness. I did play it with no shim in place and the action is sublime with no buzzing playing finger style and light strumming. I always include 4 shims (.020”, .030”, .040” and .050”) with each new guitar so the end user can adjust the action to suit their preferences.

A brand new guitar always moves and settles in under string tension and the action will always change in the first few days after being strung up. The main reason I use a ToneRite for 72 hours is to shake the bajeebers out of the guitar and speed up the settling in process. After three days I do my final set up and it’s very likely the action will remain constant for many years. Since I use double sides and buttress braces on the neck block my guitars action remains very stable and consistent.

[canuck7]

Thanks Tim!
I've been lowering the action on my guitars a little bit at a time when I change strings as I find it easier to fret some of the songs I'm playing...I didn't know how low you could go, but I play gently, so this information helps alot...!!
Of course, I don't own a McKnight so I can't benefit from your build excellence!!

[Neil K Walk]

Originally Posted by Eire

Naw, Neil. You've always looked just fine decked out in your onesie.

I've moving up to overalls, Kurt. I've learned to control myself.

[Tim McKnight]

Originally Posted by canuck7

Thanks Tim!
I've been lowering the action on my guitars a little bit at a time when I change strings as I find it easier to fret some of the songs I'm playing...I didn't know how low you could go, but I play gently, so this information helps alot...!!
Of course, I don't own a McKnight so I can't benefit from your build excellence!!

Jeff,
I rough in the saddle height then start work at the nut slots by checking the string clearance between the bottom of each string and the top of the fret crown, when fretting the third fret. I want to see a hint of light at the treble e and gradually just a bit more light as I transition to the bass side. After I set those clearances then I lower the saddle. Next is the ToneRite thing then a final set up. I always have to adjust something after it settles in after the shake, rattle and roll. After that the final set up its good.

Keep in mind this is all done with a neutral setting of the truss rod. Making adjustments to the truss rod does effect action but the truss rod is designed to adjust the relief in the neck shaft and its not a device to adjust action. By using Transitional Relief I rarely ever touch the truss rod on my recent guitars. Its a dance adjusting all three areas (nut, saddle and TR) in harmony, to get the perfect setup.

I believe Transitional Relief yields the ultimate in playability and can even out perform PLEK set ups. However, if one doesn't have a guitar set up with Transitional Relief then you might try a PLEK machine set up. It yields similar results but it comes at the sacrifice of milling frets to accomplish similar results.

[PhilipY]

Here's an update I owe you guys. About a month ago, when the guitar was about to finish, Tim found a small cloudy blemish, about the size of a pencil eraser, on the waist of the guitar. He called me and said that he doesn't want to send out any Mcknight Guitar with even a tiny flaw on it. I really admire that.

Here are some words from Tim:

Well sometimes life just throws you a curve ball and stuff just happens. As Tim was sanding he chipped the finish on the neck and decided to pull the neck and refinish it at that same time. When he pulled the neck a small finish chip lifted on an area adjacent to the sound hole and fingerboard extension. So the top requires refinishing as well. You can see how a small imperfection rapidly turns into a snowball of unexpected turns and full transparency with his customer.

[PhilipY]

A few weeks ago I heard from him that he was infected by the covid-19 virus. I was worried about him but on the other hand, I am sure he can beat it. As I expected, I heard from him again 2 days earlier. He seems to be doing well. Welcome back Tim!

Here's the update from Mary's point of view:

Well Tim has been busy behind the scenes on this guitar and he just sent me an update. All the finish was removed from the neck and body and they were pore filled again.



He’s busy mixing a plethora of chemicals and concoctions together:

[PhilipY]

All to spray sealer and finish on the guitar body and neck again:





After a couple weeks for the finish to cure he dry sands the neck and body:

[PhilipY]

Then wet sands the neck and body:





Then on to dry buffing the neck and body:



After everything is all shiny it’s time to hot hide glue the neck back onto the body:





The neck was glued on yesterday and Tim plans to hot hide glue the bridge on

[PhilipY]

Here is the final update from Tim about this work.
The last few steps Tim complete the guitar.
Btw, I might post a small review after receiving the guitar if I got a chance.

Here Tim is using a scalpel to scribe around the bridge perimeter.




Then the finish is pulled up to reveal a nice clean barer wood surface to glue the bridge to.



Tim measures the finish thickness at .0015” thick.



Heating the hot hide glue in preparation to attach the bridge:



Applying the hot hide glue:

[PhilipY]

Then the bridge is clamped to the top with a vacuum clamp.

Meanwhile the tuners go back on:



After the bridge glue has dried over night the fret board and bridge get a spa treatment of Tim’s Fretboard Revival Conditioning Balm:




Next the strap buttons are attached:




The strings go on:


Then a ToneRite treatment follows:

[PhilipY]

I have picked some of the final pictures, and I have to say that this is an art in all sense. By the way, I think Tim is also a master rank photographer.

[Eire]

Originally Posted by PhilipY

About a month ago, when the guitar was about to finish, Tim found a small cloudy blemish, about the size of a pencil eraser, on the waist of the guitar. He called me and said that he doesn't want to send out any Mcknight Guitar with even a tiny flaw on it. I really admire that.

This level of precision, commitment and perfection is exactly why I've had Tim build two guitars for me. A small finish blemish that no one besides Tim might ever notice? Not happening. Ain't nothin' leaving Morral that ain't perfect.

[Nemoman]

What a stunning guitar!

Congrats--hope it brings you decades of beautiful music and friendship!