I think so, isn't called a frog or something like that? I seem to always have mine set wrong and have one side of the blade sticking out more than the other.
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There's another storm brewing!
- Thread starter pilotjones
- Start date
I think so, isn't called a frog or something like that? I seem to always have mine set wrong and have one side of the blade sticking out more than the other.
Which lever are we talking about. The one under the handle (that one is for adjusting blade angle), or the one right above the screw that hold the blade and chip breaker?
Thanks. I took the plane apart, cleaned it up a bit, and figured it out. As Smilodon said, the top lever that I was talking about is on the lever cap (there is no chip breaker). It is a quick release for the iron, which interacts with the screw adjustment.
I found that since the lever cap is too short in the design, it is possible to overtighten the cap, flexing the blade and making it hard to adjust the depth. Since I figured that out, I've got it running decently well I think.
The lever under the the iron is the one for adjusting the blade angle. Lisa, to get the angle set right for even cutting, my approach to sight the plane end-on from the front end while it is upside-down, with a solid background behind. Then you can see how it's projecting. Then, especially when the blade is set for only a slight cut, you can follow up by carefully feeling the projection with your finger at multiple points along the blade. (Never slide your finger laterally along it, obviously. You can also draw your finger across the edge "backwards," in the opposite of the cutting direction.).
I found that since the lever cap is too short in the design, it is possible to overtighten the cap, flexing the blade and making it hard to adjust the depth. Since I figured that out, I've got it running decently well I think.
The lever under the the iron is the one for adjusting the blade angle. Lisa, to get the angle set right for even cutting, my approach to sight the plane end-on from the front end while it is upside-down, with a solid background behind. Then you can see how it's projecting. Then, especially when the blade is set for only a slight cut, you can follow up by carefully feeling the projection with your finger at multiple points along the blade. (Never slide your finger laterally along it, obviously. You can also draw your finger across the edge "backwards," in the opposite of the cutting direction.).
I always thought that lever was for setting the blade to the bias that you carved with. Like holding it at an angle to maintain level. I could be wrong and I hope someone corrects me to make the process easier.
On this plane, the small lever on the top is, along with the screw below it, for clamping down the blade. The control for angling the blade is the lever below the blade.
A bit of neck work
My next steps are to rout for the truss rod, while I still have a finished edge on the neck beam that is parallel to the centerline, and then to do the neck taper. This will be followed by adding the additional layers at the body end to bring it up to body thickness, trim them to the neck taper, and then start thinking about the body wings. All while waiting for the fretboard to be milled.
Unfortunately I don't have the 5/16" bit required to do the TR rout. That's on order, and I should have it Wednesday. What I was able to do is to transfer my index holes for this bass to the neck taper template I made for the last bass, then use the template to mark the eventual final size--allowing me to then bandsaw the scrap from one side of the beam, preparing it for the taper routing.
This cut exposed some of the laminations by the scarf joint. So I clamped up my fretboard test piece alongside, to roughly mockup the look of when it finally gets its fretboard.
Of course, that's not where the fret markers would actually land.
I also made a little quick & dirty & ugly pedalboard over the weekend. I can post a pic if anyone's interested, I think it's a little hilarious.
My next steps are to rout for the truss rod, while I still have a finished edge on the neck beam that is parallel to the centerline, and then to do the neck taper. This will be followed by adding the additional layers at the body end to bring it up to body thickness, trim them to the neck taper, and then start thinking about the body wings. All while waiting for the fretboard to be milled.
Unfortunately I don't have the 5/16" bit required to do the TR rout. That's on order, and I should have it Wednesday. What I was able to do is to transfer my index holes for this bass to the neck taper template I made for the last bass, then use the template to mark the eventual final size--allowing me to then bandsaw the scrap from one side of the beam, preparing it for the taper routing.
This cut exposed some of the laminations by the scarf joint. So I clamped up my fretboard test piece alongside, to roughly mockup the look of when it finally gets its fretboard.
Of course, that's not where the fret markers would actually land.
I also made a little quick & dirty & ugly pedalboard over the weekend. I can post a pic if anyone's interested, I think it's a little hilarious.
+1. I guess it will look nice and unusual.That looks great. Can't wait to see it carved.
Thanks.
Carving it will be an experience.
_________________________________________
(departure from the quality I'm trying to get on the basses)
OK, so: Friday night, one hour to leave for a gig, spot a chunk of 2x6, thinking "can I hack a pedalboard in just an hour, since I'm sick of setting up my three pedals?" I figured I'd call it the Model S1-HPB, "S***ty One Hour Pedalboard."
Couldn't do it in the hour. Finished it the next day. Then went to the shelves to see what leftover spray paints I had...only clears, and gold. So it is now like some malformed disco monstrosity from that Austin Powers character.
The intention behind the madness though is to try freehand routing (if JohnK can be an artist with it, I can at least hope to be able to become minimally competent), and to start towards a real pedalboard. Next step will be adding a power strip to this somehow. Eventually maybe I'll make something using the good guitar wood scraps.
One nice aspect of it being a well-hollowed out piece of softwood is that it weighs very little, but is pretty rigid.
Carving it will be an experience.
_________________________________________
(departure from the quality I'm trying to get on the basses)
OK, so: Friday night, one hour to leave for a gig, spot a chunk of 2x6, thinking "can I hack a pedalboard in just an hour, since I'm sick of setting up my three pedals?" I figured I'd call it the Model S1-HPB, "S***ty One Hour Pedalboard."
Couldn't do it in the hour. Finished it the next day. Then went to the shelves to see what leftover spray paints I had...only clears, and gold. So it is now like some malformed disco monstrosity from that Austin Powers character.
The intention behind the madness though is to try freehand routing (if JohnK can be an artist with it, I can at least hope to be able to become minimally competent), and to start towards a real pedalboard. Next step will be adding a power strip to this somehow. Eventually maybe I'll make something using the good guitar wood scraps.
One nice aspect of it being a well-hollowed out piece of softwood is that it weighs very little, but is pretty rigid.
Hopkins
Commercial User
The intention behind the madness though is to try freehand routing (if JohnK can be an artist with it, I can at least hope to be able to become minimally competent), and to start towards a real pedalboard.
JohnK is a human CNC machine
Absolutely.JohnK is a human CNC machine
_________________________________
New Improved with added power bar / angle legs
Can't leave bad enough alone.
Thanks.
I have thicknessed a spacer board and then mounted it to the side of the neck beam, so that I can rout the truss rod channel without bumping into the headstock. Then I loaded up an undersized bit, did a few test nibbles while adjusting the fences, and then ran a full-length cut with the undersized bit.
It is now all ready for when my 5/16" bit arrives tomorrow.
I have thicknessed a spacer board and then mounted it to the side of the neck beam, so that I can rout the truss rod channel without bumping into the headstock. Then I loaded up an undersized bit, did a few test nibbles while adjusting the fences, and then ran a full-length cut with the undersized bit.
It is now all ready for when my 5/16" bit arrives tomorrow.
Truss Rod Channel
Got my router bit, one day late from Amazon.
Routed the truss rod slot.
Done.
The channel cut down exactly to the level through the laminations that I had modeled up, which was a relief.
Hello, truss rod.
It sits just a couple of thousandths recessed. The 5/16" dia. bit was perfect for this rod, which is advertised as 8mm square, but is actually a bit off from that in each direction.
BTW, if your local store has one of these on sale, pick it up. It's really convenient, especially for setting up the partial-depth passes before the final pass.
Neck Taper
With the TR slot done, I no longer needed the edge parallel to the CL. So, time to cut the neck beam taper.
Mounted the template to the beam, and put three layers of blue tape onto the template sides.
Routed the sides, first with the tape on, and then again after removing each layer of tape. The idea was to get a (at least nearly) glue-ready surface to join the wings to, and to not get any tearout like I got with the first bass. It worked well, not tears, no grabs, despite wavy grain in the walnut and one one side of the neck being cut into the grain while the other was out.
Done.
I also removed some extra material at the headstock/nut area, and smoothed it out. Yes, this should be interesting when it comes time to carve the volute.
Laminating the neck thickening in the body area ("tone block"
)
Next steps are to thicken up the neck beam down the bottom, then trim it to the existing neck beam.
Pieces to be laminated.
Bottom of the pic is the glue-up done previously. The yellow/black/yellow is added "llve" with that piece. Toothpicks for alignment, one will be buried and the other is in a scrap area. The neck beam sides are covered in blue tape, so that the nice surfaces won't be ruined with glue.
In the clamps.
I've gotten a lot of use out of those 6 x 24" cauls. I'm glad I made them.
_____________________________________________
I realized after seeing someone else's post yesterday, that I've been neglecting the brews lately.
A porter from a Wisconsin company whose wares have been showing up in NY lately.
Strong coffee taste with a touch of chocolate, round mouthfeel, and a surprisingly clean, quick finish.
Got my router bit, one day late from Amazon.
Routed the truss rod slot.
Done.
The channel cut down exactly to the level through the laminations that I had modeled up, which was a relief.
Hello, truss rod.
It sits just a couple of thousandths recessed. The 5/16" dia. bit was perfect for this rod, which is advertised as 8mm square, but is actually a bit off from that in each direction.
BTW, if your local store has one of these on sale, pick it up. It's really convenient, especially for setting up the partial-depth passes before the final pass.
Neck Taper
With the TR slot done, I no longer needed the edge parallel to the CL. So, time to cut the neck beam taper.
Mounted the template to the beam, and put three layers of blue tape onto the template sides.
Routed the sides, first with the tape on, and then again after removing each layer of tape. The idea was to get a (at least nearly) glue-ready surface to join the wings to, and to not get any tearout like I got with the first bass. It worked well, not tears, no grabs, despite wavy grain in the walnut and one one side of the neck being cut into the grain while the other was out.
Done.
I also removed some extra material at the headstock/nut area, and smoothed it out. Yes, this should be interesting when it comes time to carve the volute.
Laminating the neck thickening in the body area ("tone block"
)Next steps are to thicken up the neck beam down the bottom, then trim it to the existing neck beam.
Pieces to be laminated.
Bottom of the pic is the glue-up done previously. The yellow/black/yellow is added "llve" with that piece. Toothpicks for alignment, one will be buried and the other is in a scrap area. The neck beam sides are covered in blue tape, so that the nice surfaces won't be ruined with glue.
In the clamps.
I've gotten a lot of use out of those 6 x 24" cauls. I'm glad I made them.
_____________________________________________
I realized after seeing someone else's post yesterday, that I've been neglecting the brews lately.
A porter from a Wisconsin company whose wares have been showing up in NY lately.
Strong coffee taste with a touch of chocolate, round mouthfeel, and a surprisingly clean, quick finish.
Back of neck lams continued
Out of the clamps
Trimmed up
First actual mistake on this bass. The first time I raised up the router for the upper pass on the trimming, there was a slight screech noise. I figured I just had the acrylic guard a touch low, and kept going since I wouldn't care about a slight nick in the guard. Turns out, it was the collet burning up the underside of the beam. You can kind of make it out here, on the near edge.
Most of that will be buried under the fingerboard. There will be a touch of exposure on the underside of the neck inside the lower horn, but it will fill up with epoxy and should be nearly invisible.It is only about .010-.015 deep.
Laying out pieces
Time to lay out the body pieces, and commit to positions. First I had to trim up a bunch of the edges of the wings, since the layers had varying extents, until I hit the full sandwich of layers.
Whole instrument
Body
There are spacers between the wings and body, to make up for the ...interesting... laminations that will occupy that space.
Out of the clamps
Trimmed up
First actual mistake on this bass. The first time I raised up the router for the upper pass on the trimming, there was a slight screech noise. I figured I just had the acrylic guard a touch low, and kept going since I wouldn't care about a slight nick in the guard. Turns out, it was the collet burning up the underside of the beam. You can kind of make it out here, on the near edge.
Most of that will be buried under the fingerboard. There will be a touch of exposure on the underside of the neck inside the lower horn, but it will fill up with epoxy and should be nearly invisible.It is only about .010-.015 deep.
Laying out pieces
Time to lay out the body pieces, and commit to positions. First I had to trim up a bunch of the edges of the wings, since the layers had varying extents, until I hit the full sandwich of layers.
Whole instrument
Body
There are spacers between the wings and body, to make up for the ...interesting... laminations that will occupy that space.
You may be right. Those 'lembics are pretty special though, too. And the laminations on the LXL bass kick butt. And of course there's [Invalid or Expired Link Removed] and [Invalid or Expired Link Removed]. I'm a little worried that there's just too much of it in this bass, but I think it'll be OK since it's not going to be as visible on the front face, except for lining the fretboard, and on the carves.
I'm keeping track of how many pieces of wood are in the bass. Even before doing knobs, it's very high.
If you ever find yourself on this side of the globe, look me up!
Last edited:
Hopkins
Commercial User
I cant wait to see this one carved, to really see how those laminations look.
That epoxy looks like a serious mess, I don't envy you on this project. Every time I use the stuff I end up getting some on my work bench or somewhere else it doesn't belong. The good thing is it scrapes off pretty easily with a sharp card scraper or razor.
