There's another storm brewing!

Discussion in 'Luthier's Corner' started by pilotjones, Dec 7, 2012.

  1. Beej


    Feb 10, 2007
    Vancouver Island
    Fine Woodworking had a nice workbench in an issue I read over the holidays, I think it's this one?

    For what it's worth, my favorite work surface is a 2' x 4' 1.5" MDF top standalone bench with 4x4 construction. The first one had lockable wheels, but it moves so little I built a second replacement one with no wheels. It stands in the middle of my "shop" (8x10 outbuilding) and allows me access to all sides for working on instruments. The MDF is a sacrificial top...
  2. Hopkins

    Hopkins Supporting Member Commercial User

    Nov 17, 2010
    Houston Tx
    Owner/Builder @Hopkins Guitars
    You wont be disappointed in that Shinto rasp. Mine is one of my favorite tools.
  3. pilotjones


    Nov 8, 2001
    Rasp: yes, I think yours was one of the several recommendations.

    Bench: Thanks for the info, Beej.

    Has anyone else got workbench info, tips, or suggestions?
  4. shporsche


    Mar 7, 2011
    Enjoying your builds, I really like the fingerboard going right up into the body.

    The Shinto Rasp, my most used tool for majority of the shaping.
    I've built 8 instruments with it, only now I feel its getting blunt.

    I recently built a workbench, couldn't find much on the net that suited what I was after.
    I ended up designing it by myself, as I couldn't find anything that suited what I used.
    This is what I came up with, its not exact as there is no actual dimensions, it was just for the idea.
    I will get actual pics later tonight.

  5. eeyorebass


    Jan 2, 2008
  6. pilotjones


    Nov 8, 2001
    Nice benches, thanks. That one with the built in pipe clamps looks cool, though I'm not sure whether it applies to guitar making as much.
  7. pilotjones


    Nov 8, 2001
    When I saw the bench, I pretty much dismissed it because it was so nice - and complex - that I knew I that I couldn't devote the hours to building one, nice as it is. But I'll take another look to see what bits and ideas from it I can use.
  8. That is an awesome bench!

    My dad and I are finished a room in his basement for a wood shop, for work benches, his neighbour was replacing his kitchen, so he gave us the old cabinets if we would pull them out. We jumped all over that. A few modifications and they will make awesome work benches.

  9. pilotjones


    Nov 8, 2001
    I've got some questions about the Shinto rasp. Starting a new thread on it.

    [ edit ] Here it is. Any help is appreciated.
  10. pilotjones


    Nov 8, 2001
    lbridenstine very awesomely came through with a translation. Here it is.
  11. pilotjones


    Nov 8, 2001
    It's been suggested that since this neck (and the bass in general) will have several layers, it would be a good idea to use epoxy for the glue-up, to avoid introducing a lot of moisture into the wood. So, I've got a few questions.

    1. Who has used epoxy for their laminations? What results have you gotten, and what tips can you offer?

    2. West Systems? System Three? Z-Poxy? And which version (which resin, hardener)?

    3. Surface prep - De-oiling? Scratching for added tooth? None?

    4. Reasons to use epoxy, or not to?

  12. HaMMerHeD


    May 20, 2005
    I've never had good luck with those shinto rasps. I have a hard time getting the right shear.

    I used System Three T88 for a laminate glue-up, which gave me about 30 minutes of open time, which was about right for me.

    To prep the glued surfaces, I scuffed with 60-grit paper.

    My understanding is that S3 is a bit more sensitive to mixing ratios, so to get the best bond, you'll want to use a good kitchen scale.
  13. pilotjones


    Nov 8, 2001
    Thanks for the info, HH.

    Can anyone else lend some epoxy laminating expertise?
  14. I haven't used it in a bass, but I have used it in many other things. I just sanded to about 150, or so. I just used cheap 60 minute epoxy, so I had about 30 minutes of working time; it was the kind that had two tubes and you squeezed it out and mixed. This is the table that I used it for, all 8 joints on the top piece. The 30 minutes of working time gave my dad and I just enough time to get it all in place and clamped. A few pieces of advice, make sure that you put it on both pieces, it will slip around more than Tightbond, and it doesn't clean up as easy.


  15. pilotjones


    Nov 8, 2001
  16. pilotjones


    Nov 8, 2001
    Wood is in. It's great (as expected from Larry). One piece was damaged in transit, so that will require a solution.

    Types are rock maple with some flame, quilted bigleaf maple, calico padauk, peruvian walnut, gonçalo alves, and beeswing makore.

    No pics tonight, gig. Probably tomorrow.
  17. pilotjones


    Nov 8, 2001
    Today I got in from work early enough to take the wood outside in the quickly dying light, splash some alcohol on them, and take a few pics before the bitter cold froze my hands. (I'm not used to 12 F / -11 C in NYC!).

    (Some of these have a touch of color correction to try to counter the setting sunlight.)

    Some thin rock maple, to be used for accent in neck and body. These are the ends of two long boards.
    The narrower piece is significantly darker than the rest of the maple accent wood. But the figure popped so much when wet, I'll have to figure the best way to work it into the build cohesively!

    Two thin panels of bigleaf maple, also for accents.

    Two more. These are actually a beautifull bookmatch, so it will be a shame to bury them between other layers. But I will position them to best put the quilting where it will be revealed in roundovers or sculpting.

    Peruvian walnut for the body core.
    This is nice and light. Lighter than Juglans walnut proper, and a little more porous.

    The makore for the back.
    This is the problem panel. It was a one-piece to span the back, with just one check to be sorted out. In shipping, the check grew, plus it cracked apart in a different place, and the panel picked up some cup. So there's a bit of work to be done to salvage it. If it hadn't also cupped, I would just rip both sides of the split and glue, and the figure would hide the seam, per Larry's advice. But I think I'm going to have to un-bend it first, before doing any cutting. All advice is welcome!

    And finally the two that surprised me the most when wetted: the calico padauk (bottom) and the gonçalo alves (top). (Again, these are one end of some long boards.)
    The thing is, dry, the padauk has very light white/cream stripes that darken up wet; and the gonçalo dry is completely various shades of warm-to-cool chocolate. Once wetted it actually lightened up, which I've never seen wood do before, so the two of them approach each other. Also, I'm pretty sure the gonçalo the has some flame, of which I had no idea until I got the pics out of the camera.

    The GA is one of the densest woods I've ever hefted. I think the grain/porosity is fine enough that I can polish it up and leave the fingerboard unfinished. Does anyone have experience with using gonçalo alves that way? So these two will probably be as: GA for fretboard and back of neck, and padauk for neck core as well as front face of body wings. They are both very nicely quarter sawn (or, technically, radial cuts).

    I'm a pretty happy camper!
  18. sargebaker

    sargebaker Builder - Island Instruments Supporting Member Commercial User

    May 2, 2004
    Montreal QC CA
    owner/builder, ISLAND Instrument Mfg.
    What do you intend the final thickness of the makore back panel to be?

    Edit: That Calico Paudouk is sweet, never heard of it before.