muttley wrote: ↑Fri Sep 29, 2017 11:35 am
yep. Stronger than the wood itself.
Often you will have a veneer over the top to add to the stregth but in the case of jnr they are just painted black. I wont be putting a veneer on this.
The headstock will also have wings glued to the side to increase the blank width which will hide the edge joint.
Got it. I've heard that, if done correctly, the repair of a broken Gibson headstock makes it stronger than it was originally. Seems counter-intuitive, but I can believe it.
I'm eager to see how you cut the neck pocket and set the neck angle.
Thats in the next video I'm putting together now. Jnr's are unique in the LP stable in that the neck angle is set on the bottom of the heel. On a Custom or Std the angle is set on the body largely because of the arched top.
We need to decide exactly what bridge is going on this as the precise angle of the neck will be determined by that. Anywhere between 2.5 and 3.5 degrees.. It will also affect what pup I use as a dogear only really works well with a lower angled neck.
muttley wrote: ↑Fri Sep 29, 2017 11:45 am
Thats in the next video I'm putting together now. Jnr's are unique in the LP stable in that the neck angle is set on the bottom of the heel. On a Custom or Std the angle is set on the body largely because of the arched top.
We need to decide exactly what bridge is going on this as the precise angle of the neck will be determined by that. Anywhere between 2.5 and 3.5 degrees.. It will also affect what pup I use as a dogear only really works well with a lower angled neck.
I vote for a standard Nashville tune-o-matic + stopbar.
JD01 wrote: ↑Fri Sep 29, 2017 12:43 pm
Through body with a nice roller bridge for me!
Although I don't mind a T-o-M with a stopbar either.
I also think dog ears look cooler.
No roller bridges for me... I also dont really like through body stringing except on basses and 80's thrash metal guitars. Personal choice thats all.. The longer I do this the more traditional I tend to lean..
muttley wrote: ↑Fri Sep 29, 2017 1:01 pm
the more traditional I tend to lean..
Good man. We don't need no metal silliness.
I remember over 35 years ago when I was first starting out I was talking to an established maker and running through a build I was intending to do. It had all kinds of crazyness, inlays, MOP everywhere, through neck, sunburst go faster strips, gold bling, all sorts you name it. He looked at me for a minute then said. "Yeh go for it.... Get it out of your system now before it ruins you". I'll never forget that...
Greg_L wrote: ↑Fri Sep 29, 2017 3:06 pm
Very cool.
When you set the truss rod, how does it anchor at the body end of the neck?
On this style of rod it doesnt anchor anywhere. It is a pretty tight fit in the slot and then glue and clamping pressure just hold it there.
A double action rod has a threaded bullet that is weldeed to a flat plate of mild steel that goes full length. The other end is welded to the rod. The business end of the rod has a hex or slot to allow you to turn the rod in the bullet thus shortening or lengthening the rod in relation to the steel plate causing it to bend... Hard to describe.
This should put you right... and save me doing a video of it.
I should add that I normally put some expoxy in there to hold the rod but it isnt essential. I have never seen one of thes rods rattle as they always have tension on them. Thats why I like them.
muttley wrote: ↑Fri Sep 29, 2017 11:45 am
Thats in the next video I'm putting together now. Jnr's are unique in the LP stable in that the neck angle is set on the bottom of the heel. On a Custom or Std the angle is set on the body largely because of the arched top.
We need to decide exactly what bridge is going on this as the precise angle of the neck will be determined by that. Anywhere between 2.5 and 3.5 degrees.. It will also affect what pup I use as a dogear only really works well with a lower angled neck.
I vote for a standard Nashville tune-o-matic + stopbar.
VERY interesting work Mutt.
The devil is in the detail and patience.
I've enjoyed this series this far.
Here's something I saw on Crimson guitars a couple of minutes ago - looks like a design by someone in Kiss before they added the black & bling.
I have a look on their page every now and then - sometimes to laugh at the ideas and, very occasionally, to see something actually interesting. They are a long way from getting it out of their system, but then that is their point of difference I suppose...
[BBvideo=560,315]https://www.youtube.com/watch?v=SCzY3gZU0Yk[/BBvideo]
It's probably no surprise that the demo done elsewhere was in drop C.
muttley wrote: ↑Fri Sep 29, 2017 3:24 pm
I should add that I normally put some expoxy in there to hold the rod but it isnt essential. I have never seen one of thes rods rattle as they always have tension on them. Thats why I like them.
truss rod in my stinnett rattles ... i can only hear it unamplified but it drives me crazy
re: the video shaping/smoothing the body, why a block plane to true the surface? I'd think that a block plane, with it's short base, would make it easier to create all sorts of new un-evenness, new high and low spots, in the surface, and that a jack plane would be better for truing.
awesome youtube comment of the day
Lol it's still less satanic than whatever rituals Katie Perry and Taylor Swift do in their performances.
A jack plane is OK for rough smoothing. If the blank was straight off the saw I would rough it first with a shooting plane then a toothing plane then a block plane.
All the block plane is doing is taking away very slight undulations and ripples to give a precise and very flat clean surface. The advantage of a block plane is that it has a lower cutting angle so is less inclined to tear out or snag, you can adjust the sole to give a very small opening and adjust the blade to take off the thickness of a hair. You can also work against the grain and with wild grain a lot better with a block plane than a standard jack or shooting plane. Thats what the toothing blade is for..
All the blanks I have go through a thickness planer before I sticker them so they are pretty much flat when I come to use them. If they aint I run them through the planer and leave them for a year or so in case they move again.
muttley wrote: ↑Fri Sep 29, 2017 3:24 pm
I should add that I normally put some expoxy in there to hold the rod but it isnt essential. I have never seen one of thes rods rattle as they always have tension on them. Thats why I like them.
truss rod in my stinnett rattles ... i can only hear it unamplified but it drives me crazy
Does it still rattle with tension on the rod? What sort of rod is in there? I maybe able to give you some ideas to sort it..
JD went to Crimson for his custom. They do some off the wall stuff. Thats their USP. Their target market is pretty much those that want some thing bespoke and want it to look bespoke. Mine is to build something bespoke where the stuff thats been changed is only noticeable by those that know where to look. Without being too definitive, I build mostly for working pros who make a living with them, Crimson build for those that want a "Hot Rod" style statement. Nothing wrong with that, its just what they do.. I'm happy to build stuff like theirs but most often guys that come to me want top end with subtle looks. I also specialise in archtops and hollow body which is a whole different game when building and selling