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#76
10-21-2018, 09:43 AM
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Aaahaaa
I want this...
"When all the beam sanding is done it looks like this but keep in mind that what you don't see is that I also sand the treble side of the FB dead flat but also sand a graduated relief from the center of the FB to the bass side of the fret board. That is where the mojo happens to provide the player the ultimate and lowest playing action possible": This makes sense to me. John K has been sanding in a bit of a drop off for me, on the bass side of the fretboard extension kind of like a string bass or cello. It seems to avoid string Frap when whacking the bass strings. Same kind of idea, I guess... I am a glutton for ease of play. Since I had three solo acoustic unplugged gigs Friday, each a bit over an hour, with almost a hundred miles of driving, it is no wonder! Your work continues to be most inspirational! Go team!! Paul
__________________
3 John Kinnaird SS 12c CUSTOMS: Big Maple/Cedar Dread Jumbo Spanish Cedar/WRC Jumbo OLD Brazilian RW/WRC R.T 2 12c sinker RW/Claro 96 422ce bought new! 96 LKSM 12 552ce 12x12 J. Stepick Bari Weissy WRC/Walnut More 
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#77
10-21-2018, 03:02 PM
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__________________
--------------------------------------- 2013 Joel Stehr Dreadnought - Carpathian/Malaysian BW 2014 RainSong H-OM1000N2 2017 Rainsong BI-WS1000N2 2013 Chris Ensor Concert - Port Orford Cedar/Wenge 1980ish Takamine EF363 complete with irreplaceable memories A bunch of electrics (too many!!)
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#78
10-22-2018, 06:29 AM
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After the frets are pressed into their new home, we wick thin CA (Superglue) under each fret which holds them securely in place. The CA also ensures a solid bond between fret and fret board, eliminating any possibility of a "dead fret".
 Whilst the CA is drying under the frets its time to drill and inlay dots into the bridge pins.  After the dots have been installed the final step is to buff the pin heads: 
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#79
10-22-2018, 12:56 PM
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I’ve always sanded a drop off from the body joint to the end of the fret board. What is new for me is sanding a transitional relief into the fret board from the nut to the body joint. This reeeely helps me get the action super low over the entire neck. I can’t take credit for this technique. It’s one that I learned in a class taught by Dave Collins and Hesh Breakstone of Ann Arbr Guitars. Dave calls this technique “Differential Relief” which is a means of sanding a transitional relief into the fretboard wood from the bass to the treble. It’s very time consuming and quite difficult to do properly but the results are well worth the extra work.
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#80
10-23-2018, 06:38 AM
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I will look forward to meeting you at the show and getting your feedback on the set up on these guitars. See you Friday...
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#81
10-23-2018, 07:53 AM
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Adrianne will be exhibiting this year with us at WILS. She will be exhibiting a HighLander body of "The Tree" Mahogany with a vintage Redwood top. The Redwood was salvaged from an old wooden water tower in Oregon that was dismantled sometime in the 1950's. Its likely the water tower was built in the 1800's so the quality of the Redwood is pretty special and tonally as close to LS as one can compare. Mary and Adrianne co-designed the guitar with simplicity as a visual goal allowing the beauty of the wood to be the focal point in an understated yet elegant way. I think they succeed in their design goals.
 The Tree was chosen for the rosette with Maple and Ebony trim rings:  A single Maple purfling line separates The Tree bindings and end wedge from the sides:    Ebony peghead and tuner buttons on gold Gotoh 510 mini tuners:  I had a hard time trying to capture the intense figure in the back. I am going to bug Mark Hatcher for some photography lessons   A special thanks to our friend Jay Howlett for providing us with an awesome set of The Tree! Adrianne usually puts a real diamond on her guitars because she likes a touch of subtle bling  ... its a girl thang...
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#82
10-23-2018, 08:12 AM
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That's gonna go in the blink of an eye! Then whoever buys it is going to go blind from not blinking!
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Hatcher Woodsman, Collings 0002H, Stella Grand Concert
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#83
10-23-2018, 09:46 AM
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Tim and Adrianne gave me the distinct honor of playing her Tree guitar at this year's McJam for a few minutes. Truly a magnificent instrument.
Besides spectacular looks, flawless construction, and great play-ability, it sounds incredible. If I was blindfolded and played it, I would never have guessed it was redwood and mahogany. It has great sustain and dynamic range. Best of luck to all the McKnights at Woodstock! I'm hoping that whomever gets the Tree guitar will attend future McJams so I haven't seen the last of it!
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Rodger
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#84
10-24-2018, 06:22 AM
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Well the guitars are all nice and shiny and ready for some fun at Woodstock. Here are some departing shots of our little Skeeter model that Mary has nicknamed "The Aquarius":
           
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#85
10-24-2018, 06:36 AM
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Adrienne's guitar really looks special, it'll be great to see that. Redwood and "The Tree"...has to be great! See you on Friday.
__________________
--------------------------------------- 2013 Joel Stehr Dreadnought - Carpathian/Malaysian BW 2014 RainSong H-OM1000N2 2017 Rainsong BI-WS1000N2 2013 Chris Ensor Concert - Port Orford Cedar/Wenge 1980ish Takamine EF363 complete with irreplaceable memories A bunch of electrics (too many!!)
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#87
10-24-2018, 05:33 PM
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Something something, beer is good, and people are crazy.
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#88
10-24-2018, 05:58 PM
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Have a great show guys ... and I know you will with those great looking guitars!
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David Wren
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#89
10-25-2018, 07:06 AM
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#90
10-25-2018, 07:36 AM
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Looking forward to seeing you tomorrow. Travel safely.
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