Thanks for watching guys! I did get some retarder, mixed in about 1/2 cap to a 1/2 pot of lacquer and that seems to take care of the blush problem, thanks Dave.
I've just been letting it gas out for a while, but I'm about ready to finish it off and get some strings on it. Glue on fret-board, dress and level it, make bridge and saddle and nut. On yeah, and see if the finish will polish up a bit.
Joe
Re-Building an Old Parlor
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Joe Sustaire
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Re: Re-Building an Old Parlor
"I tell you we are here on earth to fart around, and don't let anyone tell you any different!"
Kurt Vonnegut
Kurt Vonnegut
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Joe Sustaire
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Re: Re-Building an Old Parlor
Okay, I brought it back in the shop today, pulled off the old handle, and did a little hand buffing. I used Meguiar's ultimate compound and a small cloth covered foam buffing pad, and it worked great! Just rubbed a little compound on in a small area at a time, and then cleared it with a cotton towel, shined right up. Best looking finish I've done on a guitar. So that's why nitro still hangs in there as a finishing material. Cheap, easy, forgiving of mistakes and shines right up, pretty cool.
So now that's it's shiny, I made a clamping caul for the fretboard, and scraped the finish off under the overhang.
And here it is being glued on. You can also get a hint of the finish in this shot.
Now I had an old tailpiece that I like the shape of, but I need it to be just a little shorter so that it doesn't crowd the floating bridge. So I tried my hand at fabricating one out of some sheet brass I had on hand. This is a little lighter than I want, but I've got it so I thought I would give it a try.
And there it is with the old one. Now I know on mandolins they upgrade the stamped tailpiece for a heavy cast piece, which is supposed to help the tone, so this may be too light. I'll give it a try, it's about the same thickness as the old one here, which is stamped steel. I'll start looking around and see if I can find some heavier brass stock somewhere.
I just steel-wooled the surface and I know it will tarnish, but I think that might work just fine on this one with the brass frets.
Have the tuners, just need to make a bridge, saddle and nut, and I can string her up.
Joe
So now that's it's shiny, I made a clamping caul for the fretboard, and scraped the finish off under the overhang.
And here it is being glued on. You can also get a hint of the finish in this shot.
Now I had an old tailpiece that I like the shape of, but I need it to be just a little shorter so that it doesn't crowd the floating bridge. So I tried my hand at fabricating one out of some sheet brass I had on hand. This is a little lighter than I want, but I've got it so I thought I would give it a try.
And there it is with the old one. Now I know on mandolins they upgrade the stamped tailpiece for a heavy cast piece, which is supposed to help the tone, so this may be too light. I'll give it a try, it's about the same thickness as the old one here, which is stamped steel. I'll start looking around and see if I can find some heavier brass stock somewhere.
I just steel-wooled the surface and I know it will tarnish, but I think that might work just fine on this one with the brass frets.
Have the tuners, just need to make a bridge, saddle and nut, and I can string her up.
Joe
"I tell you we are here on earth to fart around, and don't let anyone tell you any different!"
Kurt Vonnegut
Kurt Vonnegut
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Lefty
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Re: Re-Building an Old Parlor
Looking good Joe.
I like the tail piece.
Lefty
I like the tail piece.
Lefty
No money Nathan. No money Marty. Just a roof over my head and a rockin chair by the fire.
(Mose Harper)
Steve "Lefty" Leff
(Mose Harper)
Steve "Lefty" Leff
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D_H_G GUITARS
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Re: Re-Building an Old Parlor
Joe is she ready to play yet.
I am excited for ya , getting her back to life is a good feeling.
Thxs
Hugh
I am excited for ya , getting her back to life is a good feeling.
Thxs
Hugh
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Joe Sustaire
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Re: Re-Building an Old Parlor
Hey Hugh, she's playing!
And here is an economy I'm sure you'll appreciate. On my last build I decided to go with a tailpiece at the last minute, and needed a floating bridge quick, so I cut the slotted section off of a martin reject bridge I had bought off ebay. A little sanding and this is what I had.
So here I am again, thinking I'll do the same, quick fix, save routing the slot. Then I happen to notice the leftover from the other bridge operation, so set up to route the slot, a little sanding and---
So two floating bridges from one martin reject!
Set-up was a bit touch and go, the old fret-board had some pretty bad grooves and after leveling there's not much fret left. Works for now but I'm probably going to have to refret it down the line. I also had to shim the saddle to get enough string height to keep from buzzing. Funny with the flying buttress business the neck just doesn't seem to rise like I'm used to.
Anyway here are some pictures.
I haven't really got a feel for her yet, except to say that she definitely sounds good, much richer and more responsive than other ones like this I've played. So I think the bracing works. Now I just need to play her in a bit and work out the little bugs.
Joe
And here is an economy I'm sure you'll appreciate. On my last build I decided to go with a tailpiece at the last minute, and needed a floating bridge quick, so I cut the slotted section off of a martin reject bridge I had bought off ebay. A little sanding and this is what I had.
So here I am again, thinking I'll do the same, quick fix, save routing the slot. Then I happen to notice the leftover from the other bridge operation, so set up to route the slot, a little sanding and---
So two floating bridges from one martin reject!
Set-up was a bit touch and go, the old fret-board had some pretty bad grooves and after leveling there's not much fret left. Works for now but I'm probably going to have to refret it down the line. I also had to shim the saddle to get enough string height to keep from buzzing. Funny with the flying buttress business the neck just doesn't seem to rise like I'm used to.
Anyway here are some pictures.
I haven't really got a feel for her yet, except to say that she definitely sounds good, much richer and more responsive than other ones like this I've played. So I think the bracing works. Now I just need to play her in a bit and work out the little bugs.
Joe
"I tell you we are here on earth to fart around, and don't let anyone tell you any different!"
Kurt Vonnegut
Kurt Vonnegut
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Dennis Leahy
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Re: Re-Building an Old Parlor
Hot damn you gave that guitar a sexy vibe! Glowing warm finish, a unique pencil bridge somewhere between an archtop and a Selmer/Macaferri, and a genuine-looking vintage tailpiece. You're such an artist! You be drippin' mojo! Quadruple points for making her sound sweet!
Hey Joe, grab 3 of your guitars and your best gal, throw them in the car (carefully, especially your best gal), and point the grille north this Thursday. You have just got to make it to Stringfest '09!
Dennis
Hey Joe, grab 3 of your guitars and your best gal, throw them in the car (carefully, especially your best gal), and point the grille north this Thursday. You have just got to make it to Stringfest '09!
Dennis
Dennis Leahy
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Lefty
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Re: Re-Building an Old Parlor
Joe,
That really looks great. I really like watching your builds. I learn a lot.
Lefty
That really looks great. I really like watching your builds. I learn a lot.
Lefty
No money Nathan. No money Marty. Just a roof over my head and a rockin chair by the fire.
(Mose Harper)
Steve "Lefty" Leff
(Mose Harper)
Steve "Lefty" Leff
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DaveWhite
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Re: Re-Building an Old Parlor
Joe,
Cool vibes - she looks great. I'd love to hear how she growls too
Nice work with the bridge. It looks like you have a nice rake angle on the saddle there - is it more than you usually do and how is the intonation?
Cool vibes - she looks great. I'd love to hear how she growls too
Nice work with the bridge. It looks like you have a nice rake angle on the saddle there - is it more than you usually do and how is the intonation?
Dave White
De Faoite Stringed Instruments
". . . the one thing a machine just can't do is give you character and personalities and sometimes that comes with flaws, but it always comes with humanity" Monty Don talking about hand weaving, "Mastercrafts", Weaving, BBC March 2010
De Faoite Stringed Instruments
". . . the one thing a machine just can't do is give you character and personalities and sometimes that comes with flaws, but it always comes with humanity" Monty Don talking about hand weaving, "Mastercrafts", Weaving, BBC March 2010