Finished Pics! impmann's Alembic-esque Electric

Andyjr1515

Andyjr1515 said:

Roland said:

Andy, how do you do the forearm chamfer, and get a level finish when the three woods have difference strengths and densities?

It's easier than it looks at first sight, @Roland. ; As long as you are following the curve round, whether it's a plane or scraper or sanding block round the outline of the body, the three pieces can't really do anything other than produce a nice smooth curve.

Do you remember some of my earlier veneering tips and tricks where you are sanding the join?  It's the same principle - I'll try to find some shots...

Found a picture that probably illustrates. 

If you take creating the smooth transition and curve of glued veneer and the removal of the glue line, then you basically sand with a sanding block or similar along the intended join line:


The sanding rate will be determined by whichever is the hardest wood, but as long as you are sanding along that line, the block can't dig into the softer wood any quicker because the harder wood prevents it.

So same with this:
You basically plane, scrape, file or sand the arm-relief as normal.  At first I would be removing just the camphor laurel, then progressively expose the wenge and the mahogany.  As long as the sanding block or plane is following the curve of the body outlne, it will all sand as if it was one solid piece of wood and you therefore get the smooth transition curve for free

Andyjr1515

Also, with most actual or similar items now there, I did a quick in progress weight check:


I reckon this will end up somewhere between 7lbs and 7.5lbs when it's finished...

Andyjr1515

Loads of jobs to do in no particular order.

One of them was to start filling the numerous natural holes and fissures in the wood.  I filled the larger ones with ebony-dust mixed resin but let them sink down rather than over-fill.  

Then I used a grand-daddy version of @WezV 's slurry and buff method with tru-oil.  More like 'sludge and awash'.  Did the trick, though.  This is after the first run past - and most of the fissures are securely filled, fully high-power-vacuum-hose-proof (my usual test) 



Final filling and sanding is still to do, but it's broken the back of it....

 

Andyjr1515

Truss rod in and capped with a length of left-over acoustic guitar binding...

Andyjr1515

Next task while the fretboard is still off is the full and final body filing and sanding. 

While the fretboard is off I will also reset the 5th fret dot - easy enough to do while it's still off.  It's askew by less than 0.5mm but it shows!  Ridiculous - it should have been bang on!  A pal spotted it.  I think I need to get my glasses changed!!!

Andyjr1515

Getting ready to do the final sanding and shaping on the body before fitting the fretboard.  One of the things I've been discussing with @impmann is whether to and, if so, where to add any more cut-through to the wenge and mahogany.

In the end, we've gone for continuing the exposure along the top towards the top horn but leave the bottom broadly as is:




Clearly, the final sanding still needs to be done to round the edges and sort the merge between body and neck at the cutaways but we are going to retain the sharp edge of the top horn chamfer rather than round that over.

This top is starting to look pretty cool in the photos but, I tell you, in real life it's on another level - the wood figuring's going to be traffic-stopping when it's done

Legionreturns

That is looking stunning now! Wow duly awarded! 

Andyjr1515

Thanks @Legionreturns

DartmoorHedgehog

Nice.  Reminds me of a stone that's been in the sea for ages - makes you want to pick it up and feel it.

Shark_Eyes

The extended cut through has really just taken this to another level for me. The from soft to sharp edging looks great too, really lovely way to tie it all together.

Andyjr1515

Thanks, folks

Andyjr1515

The final shaping for the top is pretty much done.  The fretboard is still unattached but is now close to fitting stage.  Just got to decide what to do at the end past the 22nd fret:


The figuring is already starting to show...but you should see it when the oil is still wet!   I think this has to be finally finished in gloss...

This is a closer shot, still in early-oil matt form:


The back shaping isn't quite finished yet - I'm going to scoop out the horn cutouts for decent upper fret access.  It won't change the front view at all but will make it much more comfortable to play, especially with the smooth neck heel transition I have planned.  I've also managed to slice a sliver of offcut from the camphor laurel for the control chamber cover.  This will end up with similar colouring to the top once it's been sanded and finished:


And yes - the string block IS supposed to have that angle on it

So after the final final carving and sanding of the back, the fretboard will go on - and then the neck and heel can be carved.

  @impmann has sent me the profile drawings of his favourite player which I will replicate as close as possible.  Every guitar and bass has its own feel, but the aim is to provide at least a comforting familiarity on first play  



All starting to come together....

As always, thanks for the encouraging feedback and comments

impmann

I hope those little pictures help!!  I used my trusty old SG as a basis for the neck - that's a comfy old beast of a guitar as I gigged it solidly for years.

Its looking amazing!

Andyjr1515

impmann said:

I hope those little pictures help!!  I used my trusty old SG as a basis for the neck - that's a comfy old beast of a guitar as I gigged it solidly for years.

Yup - spot on, Tim

Andyjr1515

Scoop for the lower horn cutout carved out.  That pretty much finishes the body carve      :

Andyjr1515

Final preparations are ongoing before gluing on the fretboard.  If you remember, I decided to fit the very tricky bridge first and still think it was the right decision.  With the bridge lightly bolted, it's now about getting the scale length spot on and lining up the board also spot on.



I will drill the panel pin holes next (to stop the board floating during clamping once the glue is on)

Then finish off the fretboard top end (ie past the 22nd fret), then score round the outline on the top, and then chamfer the top for the board to 'sink' into the top, flat with the angled neck.

And that reminds me, I must bounce my end-of-fretboard ideas off @impmann !

Andyjr1515

Ready, at last, to glue the fretboard

I can't tell you how many times I've checked and measure and marked out and re-measured and rechecked all of the fits, the positions, the angles, the string runs, the centre line.

Here it is in its final pre-glue fit check:


Note the absolutely essential reference and positioning pins:


These are necessary because the board 'floats' on the glue when you are clamping and, given any opportunity to go out of position, will do so.

All being well, this evening will be glue and clamp time

Andyjr1515

With the normal warning of 'this is how I do it and not necessarily how you should do it', the neck carve is about 1/2 way done.

My favoured tools are:
Spokeshave - I only use for the initial rough carving


Cabinet scraper - this is what I use for most of the carving


Micro-plane blade - I use this as is (ie not fitted to a handle) with gloves



My method is to basically creep up on it - hence it being done over a couple of days.

First I get the overall thickness right with the spokeshave, triple checking by calculation and frequent measurement that it will not break-though the truss-rod channel.  This done I mark the spine with chalk so I don't inadvertently go any deeper as I start taking the haunches off:



From @impmann 's paper profile measurements (shown earlier), I cut a plasticard template and check the progress regularly.


  On all of this, I allow myself 0.5mm all round to accommodate any unplanned dig-ins, etc..  Once it is basically there, that can be easily sanded off.

So this is around halfway through:


Tomorrow, I will be spending most of my time on the heel and volute and then getting to the final shape of the whole length as much by playing feel as by measurement

Andyjr1515

Interesting little thing that came up while I started thinking about headstock shapes. 

@impmann wants straight string runs but is open to suggestion in terms of the actual shape.  Now simple logic and geometry says that to get straight string runs, then the broad shape is going to be angled 6+0 (Strat style) or triangle 3+3 (Seagull acoustic style) or a mix of the two 4+2.

Did you know that 4+2 is trademarked by Ernie Ball (updated and enforced by regular law suits)?  And, as far as I can work out, it's not the shape of the headstock, it's the actual concept of having 4 tuners on one side and 2 on the other...

Funny old world...

Legionreturns

You should do 5 + 1 and trade mark it! 

Or maybe 2+2+2 with a couple on the top