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The Hossenfeffer III Build

#121
Gilmourisgod said:
@Beej
If you have dimensions for 32” scale jazz pups from nut, I’d like to try it and see how it looks. Thanks for the tip!
Click to expand...
Pulling from my notes:
32/34" scale = 0.9412 (multiply this by all of the 34" dimensions to get the 32" dimensions)

Jazz Pickups distance from fretboard edge of nut to centre of pole pieces:
60s:
Neck: 27.8" (x 0.9412 = 26.165")
Bridge: 31.4" (x 0.9412 = 29.553")

70s:
Bridge: 31.75" (x 0.9412 = 29.883")
(Note: measurements vary - there are others who have measured 31 7/8" too)

When I did it, I also converted everything to metric (x25.4) so I could use mm for easy accurate measurement. :thumbsup:
 
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#123
Beej said:
Pulling from my notes:
32/34" scale = 0.9412 (multiply this by all of the 34" dimensions to get the 32" dimensions)

Jazz Pickups distance from fretboard edge of nut to centre of pole pieces:
60s:
Neck: 27.8" (x 0.9412 = 26.165")
Bridge: 31.4" (x 0.9412 = 29.553")

70s:
Bridge: 31.75" (x 0.9412 = 29.883")
(Note: measurements vary - there are others who have measured 31 7/8" too)

When I did it, I also converted everything to metric so I could use mm for easy accurate measurement. :thumbsup:
Click to expand...
You are THE MAN! I was trying to figure out how I'd interpolate all that using actual math, which is er.... problematic for my brain. Thanks!
 
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#124
Slidlow said:
If it's of any use to you, since the early days I settled on the 29th and 48th fret locations for dual pickup locations. For single pickup I use the 36th fret location. So for a 32" scale that would position the pickups a 2" and 6" respectively from the theoretical bridge location. Always worked for me.
Click to expand...
Thanks @Slidlow, I'll try that spacing too! The Ric builds were easy, theoretical 24th and 36th fret locations for neck and bridge and BAM!, sounds like a Ric. Never built a 32" scale before, but I'm hoping I'll find it slightly easier to play with my increasingly arthritic hands.
 
#128
I've been watching a lot of tutorials on the inlay process. I did faux MOP inlays on the HF-1, but that was easy, just straight cuts. So with no real experience under my belt, of course I have to try elliptical inlays.....

This 4 part series on simple trapezoidal inlays is pretty good, they have more too:


Having drawn perfect ellipses in Autocad, I may as well just use them as templates spray-glued or taped to the MOP and then s..l...o...w..l..y creep up on my line by sanding or files after getting them roughed out with the jeweler's saw. We do a lot of ellipitical shapes in the Architectural firm I work for, and they are unforgiving. Any flat spot or deviation from the continuously changing radius is immediately spottted by the human eye. I have enough MOP on order to screw up one or two of the smaller pieces, but not the 12th and 24th inlays, probably do those ones last.
 
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#129
Gilmourisgod said:
I've been watching a lot of tutorials on the inlay process. I did faux MOP inlays on the HF-1, but that was easy, just straight cuts. So with no real experience under my belt, of course I have to try elliptical inlays.....

This 4 part series on simple trapezoidal inlays is pretty good, they have more too:


Having drawn perfect ellipses in Autocad, I may as well just use them as templates spray-glued or taped to the MOP and then s..l...o...w..l..y creep up on my line by sanding or files after getting them roughed out with the jeweler's saw. We do a lot of ellipitical shapes in the Architectural firm I work for, and they are unforgiving. Any flat spot or deviation from the continuously changing radius is immediately spottted by the human eye. I have enough MOP on order to screw up one or two of the smaller pieces, but not the 12th and 24th inlays, probably do those ones last.
Click to expand...

The first thing that occured to me is this is much like making a cabochon , where a wet disk sander and a table would come in handy. You could even radius them. :)

Dammit, now I got to see if my brother still has our lapidary supplies / machines .
 
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#132
MPU said:
I don't know which if any solvent works with hardened epoxy. Titebond and cardboard, thin veneer or something similar works fine.
Click to expand...
Epoxy Dissolver

Google Image Result for https://www.royalcircuits.com/wp-content/uploads/2018/10/Image-D-pucks-close-up.jpg

Hopefully the link works. Epoxy provides an excellent support matrix for crystalline platy materials that are fragile like abalone. The abalone could then be cut, ground and polished into shape, like mephisto said on a table grinding/ polishing wheel.
 
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#134
MPU said:
Epoxy itself is quite brittle and when heated (like with jewellers saw or polishing disc) it gets gummy pretty easy. I would not use it as support. I’d still use something like stiff cardboard or veneer.
Click to expand...
It's used as support mechanism for submicron mechanical polishing and grinding the world over daily, so on behalf on the entire materials analysis industry I'm gonna have to disagree with you.
 
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#135
Maybe it's not West Systems or SP epoxy that's used. My experiences are from those two. Which epoxies have you used as support in similar situations?
Titebond and cardboard or veneer takes 15 minutes to dry, epoxy takes a day. I'm so impatient that I don't want to wait that long.
 
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#136
MPU said:
Maybe it's not West Systems or SP epoxy that's used. My experiences are from those two. Which epoxies have you used as support in similar situations?
Titebond and cardboard or veneer takes 15 minutes to dry, epoxy takes a day. I'm so impatient that I don't want to wait that long.
Click to expand...
There's quick cure epoxy from Allied the link i posted. It takes about 4 hours. The only benefit i can see for using epoxy would be to cover all sides. This would stop any delamination of the abalone. It was just a thought. Probably way more of a pain than it would be worth.
 
#139
MPU said:
When I made abalone inlay it did not delaminate. Abalam however was a bit tricky to shape as it did delaminate easier. MOP is easy to saw and shape without any extra support
Click to expand...
I agree...
The only time I can see the need to glue shell blanks to a sacrificial backer board... then dissolve said glue to release....
Is when you're cutting the shell on a CNC.
Then yeah...thats exactly what you do.

I really enjoy watching this guy do inlay.
...some day I will learn to use my friend's CNC .... and do stuff like this.
I would like to figure out precisely what glue he uses that holds under cutting but dissolves easy in water.
 
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