Thanks. Tailpiece problem solving is holding things up but on the bright side it gives plenty of time for the poly on the body to harden before I polish.Quote:
Originally Posted by Andy40
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Thanks. Tailpiece problem solving is holding things up but on the bright side it gives plenty of time for the poly on the body to harden before I polish.Quote:
Originally Posted by Andy40
So now I have something like a tailpiece. It’s bit of a dogs breakfast of wood so I’ll hide it with purfling on the sides. Last night I finally found an undercarriage I could of used (US $30). Used up the last piece of wonky grain rosewood veneer. Seriously thought about trying to cut it and half and make more ‘V’ shapes like the headstock, but testing showed it wouldn’t match up well and I doubted my ability to cut through the veneer without splitting it.
Yep, that looks ok to me.
That's going to be pretty sweet I reckon :)
Thanks, time will tell.Quote:
Originally Posted by blinddrew
What’s happening with Maps for Lost Roads?
Ha! Very little. :)
Gig last week triggered a dozen plays on Spotify and a download from bandcamp but basically all activity has reverted to its normal levels. :)
Working on a video for Denmark St as the one for Words went down pretty well.
In related news my next solo EP is almost ready for mastering.
Thanks for asking. :)
I was going to ask - I didn’t know if there was a section for users to post their links. Is it under your name blinddrew?Quote:
Originally Posted by blinddrew
Sent from my iPhone using Tapatalk
Well, since you're asking, there's a link in this thread of the home recording part of the forum: http://www.buildyourownguitar.com.au...ead.php?t=8853 :)
Sorry for the thread hijack DarkMark, back on topic in 3... 2... 1...
No worries blinddrew, I’ve got nothing better to talk about. I’m waiting on purfling to arrive. Couldn’t resist giving the body its first polish with my sponge pads, they seem to work well.Quote:
Originally Posted by blinddrew
Purfling arrived. Things can start moving again.
This is going to be a fine thing! :)
Was curious to know if my glitter/super glue inlay technique could work over stained wood. It appears so. I stained the wood, applied about 20 coats of wipe on poly and did the inlay.
Gold paint on the tailpiece bracket wasn’t the best solution. Maybe I’ve been subconsciously inspired by Buffalo Ghost to pull the gold glitter back out.
The gold glitter looked good, but I’ve changed my mind AGAIN. Rosewood and ivory purfling will be more durable and more in keeping with the overall look of the guitar.
I think there must be a hex on this guitar tailpiece. After all it’s screwing and gluing it seems to of developed a twist. It may be within tolerance levels, but if it isn’t I would of created an obvious mess where the tailpiece bracket screws into the body. Soooo....here we go again. I figured if I could use a proper tailpiece, cut it down and cover it with wood, a lot of the functional concerns will be taken care of. Further more I think I have figured out how to do it so I thought I’d start documenting it.
Today I started with hacksawing the edges off and grinding the arched cross bar down and flat.
Progress shot. Second layer.
You never take the easy option do you? :D
Final level. A little engraving so the metal rods sit flat then onto shaping.
So what else could go wrong?
I had a close look at my cheap tailpiece on my Es5v. The metal is starting to bend under the strain of the strings until it is almost touching the body. Now, this is the same style of tailpiece I was modeling my wood cover on. I found these tailpieces made from 3mm zinc alloy. Decision time, stick with the gold or continue the problem plagued plan. I taken a couple of photos to look at and think about for a while.
And the wood cover. Looking at the photo the gold doesn’t look too bad. The
I’m going for gold!
I think it looks more like a vintage guitar with the gold.
I don’t need much convincing. The new tailpiece looks good and I want to move on with my life.Quote:
Originally Posted by blinddrew
The wood looks great, but my patience would have run thin long ago and ditched it for another option. The gold looks good. Like of said before, often the guitar has different plans than the builder does. In the end you have to let it be what it wants to be, otherwise you’ll go mad.
otherwise you’ll go mad.[/QUOTE]
Too late I’m afraid.
Time to get this one finished. Drilling holes and installing hardware. Managed to lose the screws for the tuners along the way but luckily had suitable gold screws about the place. Chopping up and combining bridges once again to make something with a low enough action. Looking forward to playing with a cut away once again.
Really nice work DM!Quote:
Originally Posted by DarkMark
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Thanks FW, haven’t done much with it lately. Decided I couldn’t stand the fretboard colour any longer and need to match up the colours. Board sanded and cleaned with methylated spirits ready for staining. I know satin wipe on poly is an option to seal it after staining, but what about lemon oil? I have both. Pros and cons anyone?
One coat of Japan Brown on the fretboard and I’m already liking what I see.
Two coats of brown on the fret board nice and dry. Brought some satin poly to cover it this morning. It was taking a long time to dry so I put it outside to dry in the sun and wind. I go to bring it back inside to find a bird had gone and pooped on the fretboard. Luckily no lasting damage done.
I probably wouldn't be as worried about the fretboard...but having a white sofa? oooh..Quote:
Originally Posted by DarkMark
cheers, Mark.
I believe that’s called “conditioning” the board.Quote:
Originally Posted by DarkMark
Inspired by Stansby40, I’ve sanded down a floating bridge nice and low. Plan is to put a gold roller bridge on top.
That's low! Have you got enough rigidity in the wood to spread the load evenly?
Maybe not. What is the concern?Quote:
Originally Posted by Simon Barden
Not 100% sure. Just thinking that any string tension load might end up pressing down on two small areas of the top if the bridge is too flexible. But you've got a block underneath the top at the bridge position and the normal ES3 would have posts, so probably not a lot of difference in reality. And some floating bridges have a gap in the middle anyway. Ignore me, I was just over-thinking.
That’s ok, all possible pit falls need consideration and happy you are taking an interest. I’m even considering drilling post holes into the body if the bridge is too thin but keep it there for appearances and a flat base to sit on. Let’s ‘cross that bridge’ (groan) when we get there.
Edit: as for the low height of the bridge, it’s required as the neck was not set for a floating bridge.
I know about the neck angle. One reason I decided against fitting a floating bridge on my ES-3 like a proper 175 has. (Well, more like . 'fitting in the future when I get round to finishing it').
Wiring problem.
Wiring done this afternoon, however, it’s not passing the tap test.
I have no continuity between red pickup wire and the back of the pickup, and no continuity across the capacitor.
Do these joins need resoldering?
Nothing at all crossing the capacitor (but that’s it’s job, right?)
Knobs wouldn't be set to '0'?
Caught me out a couple of times.
cheers Mark.