Making radius blocks / bandsawing

Re-sawing Sepele:

Router jig for sanding blocks:

Finished product:

Neck shaping. Tool tips.

Here are 2 videos showing a little work that I am doing on the 6 string bass.

This video is a general "what I am doing" one. The semi-hollow body is nearly finished - I have been play testing it a lot (IE I like playing it and don't want to take it apart to finish...).

This is a mid-stage video of the headstock and body carving. The key in the work is to visualise and maintain focus on the end goal and not to freak out about using a rasp or chisel and leaving an uneven surface - you work in varying degrees of coarseness for the sake of efficiency.

Spoke shave/Chisel/Rasp/File/Cabinet Scraper/Power tools/Sand paper?

Here are some of my criteria for choosing which tool to use when shaping a neck - this is not a complete resource - experiment. I have seen people shape whole instruments with a rasp - there is no "right" way. (HINT: A drywall hatchet is NOT the right way. Someone actually did this!!!).

Power Tools

I like to do as much as I can with power tools. These are often the best at working with very hard woods, they work (often) faster than hand tools. Since I am specifically mentioning the neck, I will stay on topic regarding my use of them.

- Main cuts in the preparation of the neck, all thicknessing/surfacing (laminates etc) (Bandsaw, table saw, router, power plane)

- All channels (rods/bars down the neck) and holes (machine heads) (Router/drills)

- General sanding (Palm sander/belt sander)

*After rasping it often works that a palm sander can clean the gouges up just faster than a file, however it is not as nimble. This is very good because the cabinet shaper will work VERY well on a smooth surface.

- Penultimate sanding (Palm sander)

NB. Keep all fingers! Sharp tools, tight collets, awake operator. Cut 3 times, measure once... right? ;)

Spoke shave

The spoke shave is the main tool that I use to shape the neck. It allows me to do long smooth cuts and due to its narrow base I can work on curves, slopes and in confined space. The long plane fails because its base is much too big.

- Main neck shaping (to any contour - deep "C", "V", hybrids or compound shapes).

- Limited shaping at the body and headstock side - this is due to its size. Much like the long plane cannot fit to shape the main part of the neck, the spoke shave is limited, and that is why I have a handful of tools to work with.

NB. Remove less rather than more and be aware that grain can reverse and tear out. A sharp blade, strong grip and shallow cut depth will help.

Rasp

The rasp is a very rough tool. It is excellent at removing a lot of material in hard to reach areas. It is capable of creating very natural curves, and with care the "clean up" of the gouges it leaves is simple. The palm sander/file/sandpaper are good options for removing the gouges.

-Neck/headstock transition area. This is the only tool for the job (in my opinion). The spoke shave will not do this well. Sanding will take forever, as will a file.

- Body/neck (heel) transition. In conjunction with the chisel and spoke shave this moulding can look very neat.

NB. Long, controlled strokes - pushing or pulling in the direction of the cut work best. Resist the urge to drag the tool back across the work piece - you un-necessarily wear the tool and yourself.

Chisel

I like carving with the chisel because it seems like something that they would have done in the "old times". I don't like cutting myself with the chisel, though I bet they did that too!

The chisel is fabulous at carving the tight radius shapes found at the heel, for detailing areas anywhere - sometimes the chisel more accurately removes wood.

- Neck/body transition area. The chisel is indispensable for shaping in here, as I am building mainly through-necks and there is always a very tight radius needing shaped. The rasp runs the risk of damaging the body with scrapes whereas patience and a bit of focus with a chisel will turn good results.

- Headstock/neck area. The chisel is useful to help shape this transition in several ways. Before the rasp is used you can remove bulk wood with the chisel to speed the rasp work. (I do this sometimes). Or after you can clean up rasp marks in hard-to get areas, or indeed just general shaping.

I find that a firm, strong grip with both hands, 1 supporting the blade is necessary for most of my shaping. If the tool is sharp there is no need to muscle the cuts - you should not be taking so much wood off that it needs undue force. If this is happening, sharpen, think, work. A firmly held work piece is a MUST for working.

NB. As with most wood working tools, the chisel is USELESS if it is blunt. It is a danger to your piece and to you if it is blunt. Sharp tools = good work.

File

The humble file is very useful at cleaning up the gouges left by the rasp - seems like most of the tools here are damage management for the rasp - ha! It is very capable at shaping and cuts very effectively across the grain. Like the rasp it leaves gouges, it can also ruin a nice carved radius if you run the edge into it - stay awake.

- Cleaning rasp damage. This is anywhere you use a rasp - anywhere on the neck.

- Working on medium radices. Usually nearing a final step as it will take some time to shift even 1-2mm.

NB. Push, don't push/pull. Files cut in the push direction and you speed up the wear/bluntening process if you push/pull. The dust doesn't get as good a chance to clear and it cuts no faster. Good support from both hands will always give better results, 1 handed filing will produce more scrap wood... guitar shaped wood. Or some "clever" thinking (about how to get around the gaff).

Cabinet Scraper

Very useful tool for final shaping. It can remove more wood than you wood think. (sorry) They can get into reasonably tight radii and will mess things up if you are too hasty, especially against the grain. They work remarkably well on sanded wood, much better than a rough surface. They can tend to accent a rough surface unlike a file or sandpaper which removes the peaks and levels it.

- Entire neck final shaping before sanding stages. Useful to remove any slight undulations in the carving.

NB. Keep a keen edge on this tool. Support with both hands, and tell it that it is just as useful as all the other tools even though it is just scraper...

Sand Paper

Hand sanding is the final stage. It is so painfully boring that I like to do as much as I can with a palm sander. Work from coarse to fine, do not let any scrapes from a previous stage pass into the fine stages of sanding because you will never shift it with fine paper. Lift the cabinet scraper/coarse paper.

- Entire neck/entire instrument.

I tend to work in the following order of grades:

1. 80 grit (palm sander)

2. 120 grit (hand sanding - block/sponge support optional)

3. 180 grit

4. 320 grit

5. 400 grit

6. 800 grit

You don't need to go much further on an oiled instrument, and on a spray finish you should stop at around 320/400 grit to give the paint a key to grip, then finish the paint up to 1600+ grit.

I have been writing too much, I now have a headache. I think watching some Frasier or something will help!

Until next time, here is a cool guy playing a bass.

Blessings,

Mike

Neck shaping videos / Fretting tips and technique

Shaping the headstock and neck transition area.

Bear with this one - the video glitches, but my short commentary at the end will still be heard, just out of sync! Apologies on behalf of technology everywhere!

Neck heel/body transition area.

Rough neck contour completed.

Fretting tips and technique.

God bless you,

Mike

2 more videos - Thicknessing

I am near paralytic with tiredness tonight, here are 2 videos - #2 and #3 of 3, showing some thicknessing. Video #1 is 12 minutes long and therefore too much for youtube to handle, I will be trimming it soon... I assume that everyone waits with bated breath...

#2

#3

I was super productive today, hence paralysis... more videos to follow. More pics to follow, and just to round this off...

Blessings!

Mike

Building is progressing.

I am very tired, words will be few and pics many. There are videos on the way, stay tuned :)

The pics are all out of order, and I really haven't got the energy to sort this. I am sure you can work out how this progresses.

This is my main interest - everything just sitting in place, but I will be gluing soon! Looking nice.

6 necks and 1 to-be neck.

The fretless was in to get a finger rest fitted.

7 bodies.

2 bass necks.

6 string musicman bass pickup. Weaponry.

6 string bass headstock planning.

8 string guitar headstock.

8 string guitar, parts and body set on to visualise.

New electric body design. I like this. See above.

8 string headstock design.

2 necks in progress (now nearly complete).

Laminating the top onto the hollow body.

The "f" hole - free hand sketch, then cut with a coping saw. Super pleased with this!

working on the 8 string headstock.

Working on chambering the hollow body - not complete here, all neat now.

Rear of 8 string.

Rough cutting the 8 string neck. Bandsaw.

Affixing the headstock wood. Doing measurements here, gluing uses 4+ clamps.

Now to get some sleep!

Blessings,

Mike

New guitar/bass projects (lots of pics)

I finished 2 hand planes and I meant to update this a while back but here they are. A convex bladed one and a short block plane for smoothing:

I designed a new instrument a while back for either thin-line electrics (sort-of retro feel) or for a deep body chambered jazz guitar with a laminate top and an "f" hole like on old 335s or other archtops. I am super pleased with my plans - I really do like to draw. My design:

I trued up some Sepele and Tulipwood to build this from, here is the result (the Sepele (Mahogany) one will be a deep jazz guitar, the Tulipwood will be the thinline - both neck through, both with that Les Paul neck relief):

Here are the projects that I am working on, from left to right;

1) 8 string, 27" scale laminate through neck. Planned tuning of F# B E A D G B E or F Bb Eb Ab Db Gb Bb Eb - the longer scale should sustain this with heavy strings and still sound tight. Emg 45DC 6 string bass pickup being used - seem to be highly recommended by luthiers - active electronics. Ash body, Walnut top, Maple/Walnut laminate neck. Fingerboard not ordered yet.

2) (under the 8 string) 4 string semi-acoustic fretless bass. 34" scale, through neck. Tulipwood body, Ash top. Vintage bridge with brass saddles, Jazz bass pickups.

3) 4 string, 34" scale, neck through (maple). Music Man Kent Armstrong pickup. Active or passive.

4) 6 string bass, 34/35" scale, laminate through neck. Planned tuning of B E A D G C on standard guages. I have a Wilkinson 6 string Music Man pickup coming from the States for this :D Active or passive.

5) Thinline electric guitar, 24.75" scale. The neck relief is in contention due to the thinline design, it may end up being straight with a recessed bridge - I will plan when my parts arrive. PAF style pickups, wound with more wire for a bit of a hotter output, but ultimately a super versatile pickup.

6) Jazz guitar - deep body, through neck, chambered, Walnut top, PAF Jazz pickups with 12 individual adjustable pole pieces on each... maybe un-necessary, but sure they come recommended.

My dad found a very simple but AWESOME idea for a router jig which will level even bad planks, it is just a set of parallel guides, bars for the router to run on and a level bottom surface. It works VERY well, so I will do a post entirely on that, but here is it in use:

Maple:

Sepele (how beautiful is this wood!!!):

It leaves you with a super finish and a planar board:

Couple of shots of a couple of laminate necks that I am building:

I am levelling the neck out in this shot:

I am super pleased with the joints - tight :)

Here are the 6 neck blanks. 2 Maple, 2 Sepele Mahogany, 2 Maple/Walnut laminates:

I levelled out the 8 string body and prepared the laminate to create the laminate tops on this. Note that the design is old; the overall shape is ok but I am going to redesign it within its current size so that I don't have to build again - that would be pretty wasteful. Just a couple of curves I don't like. Can be totally sorted!

This is 1 of the 2 wings, both currently in the front room hardening in the warmth - wood glue is useless beneath 10*c.

That is all for now. I am expecting parts this week, so I can get on with cutting the necks to shape and get some things looking more like instruments!

God bless all :)

Mike

Convex hand plane - home build.

Short post - I am tired, medicated and tired. Did I just say that?

Ok..

I made a convex handplane to help me make carved top guitars which I plan to do. I cannot possibly justify spending £55 or more on a plane - I mean I could put that money to much better use, so I bought a £7 plane blade (35mm Stanley) and cut it to an approximate rounded tip (I drew a guide, but worked by eye a lot). I then cleaned this and bevelled a 30* blade on it with a grinder and finished off on the wet stone. I spent a good hour or 2 on the blade.

Next I fabricated the parts for the plane out of Ash, Oak and Rosewood. I had scraps of each of these from old projects or old furniture (hoping dad didn't have plans for that table...). There are plans online, just google it. I looked at them and much in the same way that I cook, I remembered a few key stats and went ahead with it.

The blade is set at 45*, the opposing side is also 45*, the plane blade bevel is 30* and the gap between the blade and the front of the plane (sorry, it must be called something better) should be between 1 and 3mm. I have mine set near 1mm because I plan only to take the smallest amounts of hardwoods off. For a smoothing plane or a block plane I suggest a little more, especially if you plan to work with softwoods because this gap ensures the cuttings go up and through the plane rather than falling under it causing the plane to slip and the cut to be very uneven. Just build one and see what I mean - you can easily modify it if it is too large or too small an opening. Probably easier to shim one which is too large though. Maybe worth erring on that side.

Some un-finished media below - I have since finished the plane with Tung oil. It has really lifted the colours of the woods. Rosewood is beautiful for the purple tone to it, really beautiful. Nice to work with as well, despite it smelling like circuit boards.

Here is a video of the plane:

A couple of pictures:

Just applied a coat of Tung oil:

Here is some of the timber for some new builds - not pictured - 10' of 12" wide tulipwood.

Left to right: Ash, American Maple, Sepele Mahogany, 2x Walnut.

New build, misc...

I find myself snapping lots of random things I am doing, so these next few posts will be pic heavy. I really ought to space this out to see me through the inevitable drought, but I am in a good mood, listening to Tower of Power and feel motivated to do this.

In the past few days I did a few interesting things:

Started a new bass/guitar build

Made/retro-fitted a replacement nut (it is interesting... really)

Learned how to lie more convincingly - see above!

Repaired a broken neck

I found a piece of Ash from a build I did in 05/06 - it was large enough to make the wings of my bass design from, so I decided to try the bandsaw out for what it was intended. Bear in mind that Ash is pretty hard, it is the reason my old cheapo Ryobi bandsaw is hosed - just couldn't manage it.

2 1/4" Ash, semi flamed on inspection! Beautiful!

My design:

My templates have an extra inch or so on the edge to allow me to attach them to an over-sized blank for the sake of stability when routing to finish the edges. This is why it doesn't' matter that they are over-hanging.

This is the final shape from the cutting. This was done about an hour faster than normal - minimum! I remember cutting that Ash the last time - it was a nightmare!!

I got a rather fancy looking bass in to repair. To the naked eye it was made with a burl wood and lots of exotic materials, but it sounded TERRIBLE. I refused to believe that woods which would have cost £300 for the build were going to sound soo bad, so I reckoned that they had somehow put an image on some plastic wood (not an oxymoron... Ibanez use this), or used MDF or something. It still baffled me, but the grain was all wrong. Anyway, I HAD to know. I opened the back plate and found this:

CONFIRMED! Injection moulded chipboard! I am amazed at how real they make this look. I bet 95% of people are fooled. I am disgusted! Anyway, I wasn't paid for my opinion, but to replace the nut... more rant.

The nut was in to be replaced because it was wearing out (plastic nuts are horrid, weak and have NO tone - but then I am just a little biased). So I took the nut off - gentle tap with a hammer:

Cheap ROT!!! Injection moulded plastic, and not even solid!! People, if you have a plastic nut - do yourselves a favour and replace them, the benefits are seriously worth it!

This is the replacement blank - rough sketches to show you how it will look - these are not my measurements... just rough! The nut I am using is bone which is legally sourced (ie not Ivory), and it weighs a lot - for it's size. 10x the weight of the plastic nut I reckon. It works nicely and smells HORRIBLE!!!

Getting the depth and width right:

Sitting well, despite the slot that was there being over 90*, so I had to file this to about 93* or so. No big deal.

These are my light initial marks for guidance:

This an initial slotting and shaping pic:

Finished!

Operator's note - this is NOT how a headstock joint should look:

It is now fixed - no pic of that though, will probably get one soon!

That will do me for now - currently clearing the workshop. What a task. I don't have the motivation... more coffee?

Best wishes :)

Mike