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A very special project to me - may I?

A followup on the failed binding and some cleanup of that. I also cut out a radius gauge for helping with the back of the neck shape. Also, I fair up the shape of the headstock some more - knowing i'm not quite done, yet.

 
This episode starts with checking the fretboard mounting.
Then I begin shaping the neck to the templates at the 1st and 12th.
Next I shape the rest of the neck and heel bout.
Finally, drill the tuning machine holes and clean up the headstock.

 
It's time to start tests for headstock inlay. I wasn't pleased with the fretboard binding after shaping the neck - so i decide to remove what's there using the CNC and then reinstall the binding after that. Finally, more headstock inlay tests start...

 
First we see the results of the neck re-binding. Stick on the end binding. Then clean up the binding. Also, more headstock inlay tests - this time with a new material. Then we re-drill and install the side markers and true that up. Also some more fret slot cleaning. Almost ready for frets!

 
Hey Jason,

just noticed there haven't been too many posts lately between your video uploads. I think it's probably because we're all so overwhelmed by the level of detail, persistence, and amount of information you are sharing. I for one, and I think many of us here, have watched every episode and look forward to seeing it through to the end. I'm especially anxious to see the finishing techniques you come up with for that great wood. Anyway, I guess I just wanted to say any lack of comments on this forum are not any indication of lack of interest, in fact, probably the opposite. Thanks for taking the time and bringing us along for the ride.

Ken Easley (builder of exactly 1 guitar.)
 
Thank you, Ken! I do appreciate the occasional post letting me know folks are still watchin :)

Some of you have seen the sneak preview but I figure there's no harm in posting a few teasers for what's coming soon...

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Thanks for another great video, Jason. I was thinking of your attempts to fill your signature with pearloid and wondering if there is anything to be learned from the pen blank makers in this process. They use vacuum and pressure pots to cast blanks using resins and various fillers. I see an awful lot of pearloid looking pen blanks. If a vacuum chamber/pressure pot will get you there, it might be worth a look. Maybe some pen makers will chime in.
 
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I'm still paying attention! just need to catch up on a few episodes. It is honestly one of the best builds I think I've ever seen.
 
Thanks so much, fellas. I realize it's a long journey - i knew it would be. Hopefully there's some info in there for folks to take advantage of.

We're getting very close ... very close :D
 
I, too, have had other distractions - framing up my son's basement for a couple more bedrooms so our new grandchild (yet to be determined) has a bedroom near mom and dad upstairs and we have a place to sleep.

Anyway, it's good to catch up. I also have a question that's been sitting on the edge of my consciousness. When you routed out the binding on the neck, it seems that you chose a very small diameter bit for that task. Why? I would have thought a larger diameter bit would have risked much less possibility of the grain lifting, less tear-out and fewer ripples (I always seem to get ripples when climb-cutting). But then you always seem to have a reason for your choices. I really appreciate the care with which you approached that task. Very much like a machinist - a lot of time in the set-up and much less in the actual execution.

I know you want this project to end and have a finished guitar, but I really look forward to the next installment. Makes me wonder what I will do when you finish?:D
 
Bruce Haugen said:
When you routed out the binding on the neck, it seems that you chose a very small diameter bit for that task. Why? I would have thought a larger diameter bit would have risked much less possibility of the grain lifting, less tear-out and fewer ripples (I always seem to get ripples when climb-cutting). But then you always seem to have a reason for your choices. I really appreciate the care with which you approached that task. Very much like a machinist - a lot of time in the set-up and much less in the actual execution.

I know you want this project to end and have a finished guitar, but I really look forward to the next installment. Makes me wonder what I will do when you finish?:D
Click to expand...

The main reason was one of impact, really. That fixturing was VERY dodgy. I couldn't really wrench down on the neck without damaging it so it was held pretty lightly. I may or may not be correct here, but i think a larger bit with more mass will transfer a fair bit more force/impact to the part when the cutter hits it and I didn't feel confident in the workholding to be able to take that kind of vibration. I was trying to keep the operation as low-impact as I could - whether that was a valid concern or not, I'm unsure.

When I finish this guitar, the next project will be videoed as well - hopefully that one will be interesting as well :)
 
Headstock inlay test results. And a monumental phase, it's time to start testing colors for the finish! This episode is the first half of all my color testing adventures. Big doings!

 
Up to this point I could envision myself doing every step you've done, Jason. And most steps would be easier because of these videos. Thanks for that. I don't have CNC anything, but I could jury-rig an alternative. But I gotta say that painting your masterpiece after all the incredible work you've put in would scare the bejesus out of me! You da man!!
 
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