tag:blogger.com,1999:blog-55344235979427055532023-11-16T06:10:14.869-05:00Woodford InstrumentsWoodford Instruments blog, detailing projects and repair work from the bench of luthier Ted Woodford, in Hamilton Ontario, Canada.Ted Woodfordhttp://www.blogger.com/profile/06671403838148439452noreply@blogger.comBlogger85125tag:blogger.com,1999:blog-5534423597942705553.post-14130154825950857062019-05-28T09:41:00.000-04:002019-05-28T09:41:26.814-04:00<div class="separator" style="clear: both; text-align: center;">
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Hey there friends. I haven't been keeping up with posts on blogger for a while -I'm far more active on Youtube these days,trying to put out three or four videos a month. For the most part the response has been very positive. I get a lot of comments from people who aren't guitar repair types who say it's just relaxing to watch someone fix things with care and attention.</div>
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I also put the occasional picture up on Instagram. It can be difficult to detach myself from the actual process of repair to document it. Sometimes I just want to be in the flow and not have to think about how it will look in-camera.</div>
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Here's a headstock from the other day: </div>
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<br />Ted Woodfordhttp://www.blogger.com/profile/06671403838148439452noreply@blogger.com0tag:blogger.com,1999:blog-5534423597942705553.post-8729475295980949972018-11-24T15:53:00.001-05:002018-11-24T15:55:24.920-05:00Les Paul at Break-neck Speed...<div class="separator" style="clear: both; text-align: center;">
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This was a fun and challenging repair! Ted Woodfordhttp://www.blogger.com/profile/06671403838148439452noreply@blogger.com2tag:blogger.com,1999:blog-5534423597942705553.post-67236261621776315682018-06-15T09:51:00.000-04:002018-06-15T09:54:31.429-04:00InterviewEmily Shaw is an accomplished guitarist and luthier based in Ottawa Ontario. We met at the <span style="color: #674ea7;"><a href="https://www.guitarhamilton.com/festival-season">Guitar Hamilton summer festival</a></span> a few years ago and struck up a conversation when she saw the photo of my reproduction of the five course guitar made by Stradivari known as "the Rawlins". She'd also completed her own copy!<br />
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Recently Emily has undertaken a wonderful series of interviews with fellow luthiers on her blog and I felt very honored when she asked if I'd participate. Check it out:<br />
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<span style="color: #674ea7;"><a href="https://guitarsbyemily.wordpress.com/2018/06/14/shop-talk-a-conversation-with-ted-woodford/">https://guitarsbyemily.wordpress.com/2018/06/14/shop-talk-a-conversation-with-ted-woodford/</a> </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEK4TH4jsYbOAgk1__ZiMsyCpjZA1hs6NwDktz7oDWQsABCl4zKm3-fkvFjmrOhwCrKUtOdeAz5FM_F05JQPp3HCkCJVK-f9_hqh-GLb_85AXU_wtOnmfxCBAJSPiU5giq5x79uGjf_Fya/s1600/shop3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1165" data-original-width="1600" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEK4TH4jsYbOAgk1__ZiMsyCpjZA1hs6NwDktz7oDWQsABCl4zKm3-fkvFjmrOhwCrKUtOdeAz5FM_F05JQPp3HCkCJVK-f9_hqh-GLb_85AXU_wtOnmfxCBAJSPiU5giq5x79uGjf_Fya/s400/shop3.jpg" width="400" /></a></div>
<br />Ted Woodfordhttp://www.blogger.com/profile/06671403838148439452noreply@blogger.com1tag:blogger.com,1999:blog-5534423597942705553.post-66701197332876796912017-11-28T21:36:00.004-05:002017-11-28T21:36:45.968-05:00Gibson Les Paul Jr. Finish Repair<div class="separator" style="clear: both; text-align: center;">
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Guitar hangers are dangerous, sometimes. Some of them have protective sleeves which can react badly with lacquer finishes if left in contact for more than a short period of time. Here's a video documenting a recent touch-up job:<br />
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<br />Ted Woodfordhttp://www.blogger.com/profile/06671403838148439452noreply@blogger.com0tag:blogger.com,1999:blog-5534423597942705553.post-20588899496726423562017-10-12T14:50:00.000-04:002017-10-12T14:50:36.512-04:00Carving a Lute RoseI made a short video describing some of the processes used in carving the soundhole ornament on Renaissance and Baroque lutes.<br />
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<br />Ted Woodfordhttp://www.blogger.com/profile/06671403838148439452noreply@blogger.com0tag:blogger.com,1999:blog-5534423597942705553.post-44919793595437915372017-08-16T10:28:00.002-04:002017-08-16T10:28:52.387-04:00Avalon Guitar - Back Removal and Repair<div class="separator" style="clear: both; text-align: center;">
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Here's a video documenting the repair of an Avalon guitar with loose braces and extensive soundboard cracking.Ted Woodfordhttp://www.blogger.com/profile/06671403838148439452noreply@blogger.com0tag:blogger.com,1999:blog-5534423597942705553.post-87052100664297017702017-05-04T16:07:00.000-04:002017-05-04T16:08:00.974-04:00A Tenor UkuleleI recently made this ukulele. Sipo body with maple binding, Sapele neck with ebony fretboard, European pearwood bridge (dyed brown), Grover tuning machines, French polished shellac finish over waterbase varnish filler. It's a simple three fan design, and the side depth is about 3/16" narrower than typical. It packs a real punch and I'm very pleased with the way it turned out.<br />
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<br />Ted Woodfordhttp://www.blogger.com/profile/06671403838148439452noreply@blogger.com0tag:blogger.com,1999:blog-5534423597942705553.post-24300643846088784332017-05-02T23:28:00.000-04:002017-05-02T23:32:53.724-04:00Gretsch Guitar Ukulele Repair<br />
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April must have been ukulele month. I worked on no less than four of them, in varying sizes, styles and colors. This is an interesting concept - it's a Gretsch G9126 ACE guitar ukulele. It couples the 17" tenor uke scale with the comfort and convenience of six strings (tuned like a guitar capo'd at the 5th fret, A to A.) Neat!</div>
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The bridge has been giving me some problems. I noticed it last summer when I did some electronic work, and this time I couldn't let it go without making it better. It uses the slightly archaic system of angled slots cut through diagonally from the top to the back of the bridge:</div>
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I'm going to inlay a strip of wood along the back edge to eliminate the problem. I see a couple of suspicious looking circles that give me the creeps. I can't be sure of course, but I think there might just be some steel screws hiding in there. I should probably stay away from them with the router bit...<br />
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The top on the instrument is not flat. Whether by design or the influence of static forces, it's markedly concave. The braces are all secure though.<br />
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For this job I'll use the plywood platform I concocted to let me rout saddle slots in bridges still glued in place on the guitar. This comes in handy for repair work in instances where the saddle isn't compensated correctly. Here it will function as a useful guide. I protect the top of the instrument with padding.<br />
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It's clamped to the body with arched beams and cork padding. The 10' radius is tighter than most guitar backs, so the pressure gets applied only on the outside edges where the lining and side offer good support.<br />
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The track is a snug fit for my palm router and can be angled or moved back and forth into position. I set the bit for the final depth and pivot it in, taking a series of passes. </div>
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There we go: a nice straight-sided cut. I will square up the corners with a chisel.<br />
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Planing a piece of rosewood to fit.<br />
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Once inlaid and glued, I'm ready to drill the string holes. This operation takes a little courage!<br />
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I carefully plotted the required angle by measuring the bridge and figuring out where the drill bit needs to emerge, then planed a little triangular block to act as a drill guide. I apply masking tape to its underside, and also the top of the bridge. Superglue holds the guide in place while I drill.<br />
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I protect the top with a piece of thin sheet steel. Holding the 1/16" drill bit in line with the string slot I carefully kept downward pressure on the block. The strings all emerged in a reasonably straight line and in their correct spacing.<br />
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All set. Almost. I went back and refined the saddle because it struck me as bulbous and uncouth as furnished by the factory. I can think of more elegant ways to tie the strings on too, but I knew I would likely have to take them off a few times while working on another repair issue (a buzz that took a long time to track down), so I just tied some knots. It works.<br />
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These days I seem to be uploading more repair videos on YouTube than writing about them. If you're interested you can find them here: https://www.youtube.com/user/twoodfrdTed Woodfordhttp://www.blogger.com/profile/06671403838148439452noreply@blogger.com1tag:blogger.com,1999:blog-5534423597942705553.post-42910645312734677432016-11-01T12:14:00.000-04:002016-11-01T12:14:02.431-04:00Luthier's Inspection BenchI recently decided to close the small retail office space I've been using to meet customers for guitar repair consultations, pick-ups and drop-offs. It represented a sizeable chunk of my operating costs, but more than that, I found myself losing a lot of time just driving to and from. I couldn't do much actual repair work there and it seemed wasteful.<br />
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Having customers come to my home is okay, but I don't really like the idea of having to escort them to my tiny little basement shop. It's very crowded in there and having to remove my current projects from the bench to clear a space every time someone shows up is less than ideal.<br />
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I recalled the number of useful shop fixtures we managed to adapt from IKEA furniture when we were setting up the shop at Lee Valley, and had a look through the catalog. My idea was to build a small workbench that could sit in our front room. Something that wasn't too offensive-looking.<br />
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I found the Forhoja kitchen cart and realized it would work nicely with some additions. I made a full-length drawer for tools, a backsplash to carry a sliding base for an angle-poise office lamp, and an adjustable neck rest. So far it's working well.<br />
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Here's a short video: <a href="https://youtu.be/AWuBqj1HAT8">https://youtu.be/AWuBqj1HAT8</a><br />
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<br />Ted Woodfordhttp://www.blogger.com/profile/06671403838148439452noreply@blogger.com0tag:blogger.com,1999:blog-5534423597942705553.post-74418529105656449822016-09-23T15:40:00.001-04:002016-09-23T15:40:36.947-04:00Making a Mandolin Armrest Video detailing the construction process of an armrest in curly maple.<br />
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<br />Ted Woodfordhttp://www.blogger.com/profile/06671403838148439452noreply@blogger.com0tag:blogger.com,1999:blog-5534423597942705553.post-42671241628360685302016-09-07T13:26:00.003-04:002016-09-07T13:29:28.611-04:00Making a Pyramid Guitar BridgeA short video describing my process for making the pyramid-style guitar bridge used by C.F. Martin and other early American guitar makers.<br />
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<br />Ted Woodfordhttp://www.blogger.com/profile/06671403838148439452noreply@blogger.com0tag:blogger.com,1999:blog-5534423597942705553.post-32133756228669589022016-08-31T20:04:00.001-04:002016-08-31T20:05:41.605-04:00You Just Can't Beat It. (Until you assemble it, that is).Something a little different. I made a busking drum kit that fits into a suitcase.<br />
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<br />Ted Woodfordhttp://www.blogger.com/profile/06671403838148439452noreply@blogger.com0tag:blogger.com,1999:blog-5534423597942705553.post-17824975629264727582016-08-15T15:57:00.005-04:002016-08-15T15:58:51.018-04:00Making Mosaic Rosettes<div class="separator" style="clear: both; text-align: center;">
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A short video describing my procedure for making decorative tiles for rosette inlays.Ted Woodfordhttp://www.blogger.com/profile/06671403838148439452noreply@blogger.com0tag:blogger.com,1999:blog-5534423597942705553.post-59338728547830472832016-07-13T21:03:00.000-04:002016-07-13T21:03:57.175-04:00Feeding the buzz.Nathan dropped by with his Ibanez RG series guitar. Last year we dressed it up with some gold hardware and a new Floyd Rose tremolo. At the time we swapped out his pickups for a pair of used Ibanez humbuckers that were never quite satisfactory. Over the years Ibanez has come up with countless combinations of pickups and there is a dizzying array of wiring schematics on the web, not all of them useful. Some require specialized model-specific switches to allow combinations of coil splitting, and series/parallel output.<br />
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As it turned out, the two humbuckers he'd acquired were designed for use in a model with a single coil in the middle position. They worked fine with a three position switch but in a 5-way situation they produced weird, buzzy, low-output tones. It seems as if they were designed to always employ the now-nonexistent single coil in the circuit to boost the signal. <br />
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For quietest possible operation, here's a thorough shielding job involving copper tape in every cavity. Recently I've been trying something new. Shielding wisdom promote the idea of "star grounding", wherein every grounding wire is run to a common point connected to the ground lug on the output jack. This reduces ambient hum from induced grounding loops.<br />
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Most often the back of the volume pot is specified as the common point. This poses some challenges. There can be upwards of 7 different wires leading to the same surface, and the heat required to melt the solder and get a good joint on one wire will often loosen another! Very annoying. It also complicates things if you need to switch out the volume pot. I've been adding a screw near the pot to which I attach all the "permanent" wires from the different shielded cavities, the bridge and so on. Encapsulated as it is within the copper cage, there seems to be no audible increase in hum.<br />
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We replaced the pickups with H4's from EMG, which looked right at home in the Ibanez. The sound of the H4A alnico in the neck position was particularly gratifying and Nathan was very happy with the results.<br />
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<br />Ted Woodfordhttp://www.blogger.com/profile/06671403838148439452noreply@blogger.com0tag:blogger.com,1999:blog-5534423597942705553.post-19038674336692509702016-04-23T17:40:00.000-04:002016-04-23T18:00:09.385-04:00An electronic puzzle.I lean towards the "Keep it Simple" school of guitar electronics. Not that I have anything against instruments with all kinds of bells and whistles, mind you. It's just not something I've ever developed a powerful lust for. I guess that's why I like Telecasters. Give me a volume and a tone and I'm happy.<br />
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When Alfie Smith asked me to build him a guitar, his first concept involved having the signal go straight from the pickups through a four-way switch directly to the jack. He was interested to hear how the TV Jones Super'Tron pickups sounded unencumbered by any load from potentiometers and excess wiring. They sound great.<br />
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A Spartan control setup to be sure, but even this took some mental wrestling. The four-way switch yields: Neck, Neck+Bridge in series, Neck+Bridge in Parallel, and Bridge. This is not the typical 4-way sequence, and it took several tries to accomplish. Guitar electronics forums are full of helpful diagrams, some of which work, and some of which are obviously untested speculation...<br />
<br />
Alfie and I both knew he was going to want a volume pot. It just makes sense for the kind of club and bar gigging he does. He was reluctant to sacrifice the direct output tone though, and suggested a three-way toggle switch to allow him to turn off the volume and go straight to the amp. He was also interested in adding a fixed tone setting, something like the "cocked wah" tone popular in some telecaster circles.<br />
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"Sure thing! I can throw a switch in." No problem. I should point out that I'm not a natural electronics whiz. Hand me a schematic and I can wire it up - I routinely switch pickups, replace pots and jacks, change out capacitors and go through miles of shielding tape as part of the repair side of my business. Designing guitar circuits is something else though. It's not intuitive.<br />
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There are wiring diagrams galore online but you won't find one with a toggle switch that gives a direct out option. Sometimes what seems like a simple request isn't so simple! Three-way toggles don't allow for three discrete settings. The middle position always produces a combination of the outside circuits. It took a minute or two of headscratching to realize that there was no way to wire one to allow a direct signal. It would always end up mixed with either the volume or the tone. Multi-pole Microswitches! (I hear someone holler) But no. The same problem arises.<br />
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I came up with an idea. What if I was to combine parts from two toggles? I could add some pole pieces and broaden the palette of possibilites.<br />
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The standard switch is on the left and the Frankenstein is to the right. I stacked an extra leaf and insulator strip on each side. (A word of warning: the screws which go through the stack are insulated with a precisely sized plastic sleeve to keep them from contacting the leaves. I had to cut an extra piece for each screw to make up the difference and prevent them from shorting out which would be annoying in a guitar circuit. It would be extremely dangerous in a situation where the voltages are higher. )<br />
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I carefully oriented and bent the outside leaves so they only made contact when the switch was flipped to one side or the other.<br />
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This is how I work through electronics problems. Some people are gifted and see it all in their head. I need to physically diagram to visualize the possibilities. Several pages later I hit upon the right combination of couplings and contacts. It's kind of vexing that the direct out signal always falls in the central position. One would prefer it to be on the side, but it's the nature of the circuit. The final form yields: Volume, Direct Out, Volume+Wah.<br />
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That's a lot of spaghetti! There's so much going on in a tight space. Heat-shrink tubing keeps the contacts from shorting.<br />
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Now there's far more choice, and yes - there is an audible difference in the direct signal. It's almost like a lead boost. (And could function that way if one set their volume and amp up accordingly. I'm not so sure about the wah. I used the 3.3k resistor and .01uF capacitor suggested by people in the know, but these aren't Tele bridge pickups. The effect might be a little too subtle and would probably benefit from experimenting with a higher value cap. We'll see.Ted Woodfordhttp://www.blogger.com/profile/06671403838148439452noreply@blogger.com0tag:blogger.com,1999:blog-5534423597942705553.post-9738009303825784162016-03-15T23:23:00.000-04:002016-03-15T23:23:18.553-04:00Morin Khurr PlanOkay. You asked for it.<br />
<br />
Lately I'm being inundated with requests for information about the morin khurr I put together several years ago. Every week there's at least one email from someone - all ages, from all walks of life, and from around the world.<br />
<br />
Let's be clear. I'm not an expert in traditional morin khurr construction. I built only one, using techniques borrowed from guitar making. It's playable and the owner is very pleased with it.<br />
There was no resource material available to me when I began the project, and I scaled the dimensions up from a photograph I found online. As luck would have it they were very close to those I later measured when I got my hands on an authentic instrument.<br />
<br />
So far, of the many people who have contacted me about building them, I've only seen one person follow through and complete a morin khurr (it was amazing). <br />
<br />
I'm not going to teach you luthiery via email. It's just too difficult. If you're the inquisitive kind of person who wants to build an instrument you need to develop self-reliance and trust your instincts. I'm providing the basic dimensions but I'm leaving details and construction techniques up to the builder. This should be enough information for people with some experience building guitars, violins, or other stringed instruments to get started on a plan of their own. (Click on the image to enlarge and then you can right-click to save to your computer).<br />
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<div class="MsoNormal">
Total Length:<span style="mso-spacerun: yes;">
</span>41.5"<span style="mso-spacerun: yes;"> </span>1054mm</div>
<div class="MsoNormal">
Width at bottom of box: 11-1/8"<span style="mso-spacerun: yes;"> </span>282.5mm</div>
<div class="MsoNormal">
Width at top: 8"<span style="mso-spacerun: yes;">
</span>203mm</div>
<div class="MsoNormal">
Box length: 12-1/14"<span style="mso-spacerun: yes;">
</span>311mm</div>
<div class="MsoNormal">
Neck, nut to body: 17-7/8"<span style="mso-spacerun: yes;"> </span>452mm</div>
<div class="MsoNormal">
String Length: nut to bridge: 22-5/16"<span style="mso-spacerun: yes;"> </span>566mm</div>
<div class="MsoNormal">
Neck width at body: 24mm<span style="mso-spacerun: yes;">
</span></div>
<div class="MsoNormal">
Neck width at nut: 22 mm</div>
<div class="MsoNormal">
Neck thickness: 22mm at nut tapers to 30mm at place where
curve begins</div>
<div class="MsoNormal">
Fingerboard thickness: 4mm (neck is flush with body plane,
board is above it)</div>
<div class="MsoNormal">
Nut height: 16mm to bottom of string</div>
<div class="MsoNormal">
Bridge height: 35mm </div>
<div class="MsoNormal">
Tailpiece length: 6"<span style="mso-spacerun: yes;">
</span>150mm</div>
<div class="MsoNormal">
Side depth: 92mm (no taper)</div>
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Plate thickness at edge:<span style="mso-spacerun: yes;">
</span>4.5-5mm</div>
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rounded corner blocks inside</div>
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Top arching at the bridge rises to about 8mm</div>
<div class="MsoNormal">
Soundpost about 7mm diameter</div>
<div class="MsoNormal">
String spacing: 19mm at nut,<span style="mso-spacerun: yes;"> </span>30mm at bridge. (outside edge to outside edge)</div>
Ted Woodfordhttp://www.blogger.com/profile/06671403838148439452noreply@blogger.com6tag:blogger.com,1999:blog-5534423597942705553.post-42802870763808342272016-02-03T16:41:00.004-05:002016-02-03T16:41:55.553-05:00<div class="separator" style="clear: both; text-align: center;">
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My current project is an electric with several unique design elements. It's a chambered solidbody made from Spanish cedar and I'm having a good time working with the customer to craft something that addresses his style of playing. I'll post an update when it's complete.<br />
<br />
Cutting neck pockets by hand is really the only way to ensure the best possible fit. It's slow but satisfying work.Ted Woodfordhttp://www.blogger.com/profile/06671403838148439452noreply@blogger.com0tag:blogger.com,1999:blog-5534423597942705553.post-72999084041787741172015-11-04T18:34:00.002-05:002015-11-04T18:35:41.450-05:00Making some Supro-inspired guitar bridges.A local musician for whom I've done a lot of work had an interesting little project for me this week. He picked up a Music Man Armada. We both agree it's nicely made, but he plays slide and found the string spacing a little challenging.<br />
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The high e is about 3/32" from the edge of the fretboard, and his slide bumps against it.<br />
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The spacing at the saddle needs to be adjusted. I can push it over by about 1.5mm and still keep the string over the polepiece of bridge pickup. We decided to file down the saddles and re-slot this bridge, but he asked if I'd be interested in making some non-adjustable rosewood replacements in the style of old 50's Supro and Airline guitars, one with a bone saddle, the other plain.<br />
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I took measurements from the stock bridge. Notice that the saddles aren't widely dispersed - this guitar has a compensated nut and so this bridge, though it might look "wrong", intonates very well.<br />
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I planed up a stick of rosewood.<br />
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And made up a quick cardboard template to mark spacing for the post holes and other measurements.<br />
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Drilling the post holes.<br />
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The Armada has a 12" fretboard radius. I used my sanding block to mark the curve on one of the blanks.<br />
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A little self-adhesive sandpaper and a minute of scrubbing roughed in the shape.<br />
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I marked the staggered saddle arrangement in pencil<br />
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The post holes provide a convenient way to affix the blank for carving.<br />
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I tried to leave a crisp knife-cut surface. The zig-zag effect isn't as dramatic as on some original bridges, but the intonation requirements play a part in the design.<br />
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For the second bridge, I needed to angled slots for the bone saddle inserts. Here's a useful trick. I applied masking tape to the side of the bridge, and to the edge of a piece of plywood. By applying superglue to the tape surfaces, I get a very strong bond, but when it's time to separate the two, they come apart easily and cleanly by sliding a pallet knife between them.<br />
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I mark a line that coincides with the distance between my 1/8" router bit and the edge of the router baseplate, parallel with the intended slot. I screw down a temporary fence, complete the routing, then repeat for the other slot.<br />
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Strips of masking tape give me clear boundaries. It's much easier than squinting at a pencil line.<br />
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A triumvirate of terror! They add a definite warmth to the guitar's voice. They look pretty cool, too.<br />
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<br />Ted Woodfordhttp://www.blogger.com/profile/06671403838148439452noreply@blogger.com0tag:blogger.com,1999:blog-5534423597942705553.post-1907722650161885942015-09-23T15:58:00.001-04:002015-09-23T16:02:12.006-04:00Floyd Rose Retrofit.<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKJ_q435TmDGpA16GZwKeo9F69cbRId2J5Izt_nBPoWnqeVasKPQA9i3p2OaTJL-E0q5j-HaJtT5yccqbE5Jn_9cPqXU7KIp7Yztzpk9By6UsBQiVTNHBC0VSdHSe5wHKpnVxLytNa3VCf/s1600/i8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="518" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKJ_q435TmDGpA16GZwKeo9F69cbRId2J5Izt_nBPoWnqeVasKPQA9i3p2OaTJL-E0q5j-HaJtT5yccqbE5Jn_9cPqXU7KIp7Yztzpk9By6UsBQiVTNHBC0VSdHSe5wHKpnVxLytNa3VCf/s640/i8.jpg" width="640" /></a></div>
<span id="goog_1739660783"></span><span id="goog_1739660784"></span>Recently I was asked to do some work on an Ibanez RG series guitar. The owner wanted to add some pizzazz with new gold hardware and replacement of the factory-installed Edge series tremolo with an upgraded authentic Floyd unit. He'd ordered the parts and realized that some extra fitting would be necessary.<br />
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The string locking screws protrude a bit farther on this model.<br />
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To make a custom-sized routing template, I first took a block of 3/4" (19mm) pine and planed it so that it fit snugly within the cavity.<br />
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Using pocket-hole screws I quickly added a couple of side wings to the block, producing a platform with an opening exactly equal to the width of the cavity. As an aside, you can see damage to the finish along the back edge of the cavity caused by efforts to prop the bridge up during string-changes. I usually suggest changing each string individually, or using a block padded with cork to prevent this.<br />
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My high-tech method for keeping the template in place involves lots of low-tack masking tape against the body, to which I can press down my incredibly strong double-sided tape. This keeps things very secure but I don't have to worry about leaving residue or pulling up the finish on older, more fragile instruments.<br />
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1/2" (13mm) flush-trim bit, lots of shallow passes. Don't try to hog off too much material. Cover the pickups because this is a messy process. I added a couple of clamps to hold the jig in place, but only for peace of mind. They've only been tightened lightly, and the body is resting on a heavily padded surface. It's possible to dent the lacquer on some instruments with too much clamping pressure.<br />
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There. Clean as a whistle. The original rout for the pocket is actually tapered and quite irregular. As it happened, the mounting holes for the bridge studs were a little off-center too. Ibanez leaves a little bit of room to fudge the bridge position, and that's easy to do with the Edge series, as it has a flat blade rather than a radiused bearing surface as found in the original Floyd Rose. It's a good idea to feather the razor-sharp edges of the fresh-routed pocket with fine sandpaper to prevent future chipping. I darkened the wood up with a coat of stain and it looked nice.<br />
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The aftermarket nut he'd purchased was high, and playing was stiff. I reckoned the nut would need to come down about .020" (.5mm) The landing surface was tilted a little, and I had visions of the binding delaminating and other horrors. I decided to take material off the bottom of the nut instead.</div>
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I measured distances from the bottom of the string grooves to keep track of progress.<br />
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The nut casting is really quite rough. A couple of passes with the file revealed that the perimeter of the screw holes was a high spot. I took it to my rotary sharpening platter and used a course disc to gradually work my way down until I reached the correct depth. It's not a job to rush, and you have to measure constantly.</div>
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Much better. It's flat, to the correct dimensions, and ready to install!<br />
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Ted Woodfordhttp://www.blogger.com/profile/06671403838148439452noreply@blogger.com0tag:blogger.com,1999:blog-5534423597942705553.post-91569463451958253392015-07-10T14:36:00.000-04:002015-07-10T14:36:00.782-04:00<div class="separator" style="clear: both; text-align: center;">
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I'm currently working on another 5-course mandolin, this time in a somewhat modified F-style. (The little swoopty-pointy-thing in the lower bout is cute but I thought I'd save myself a few hours.Ted Woodfordhttp://www.blogger.com/profile/06671403838148439452noreply@blogger.com0tag:blogger.com,1999:blog-5534423597942705553.post-3414885571607033982015-05-14T21:57:00.000-04:002015-05-14T22:07:16.016-04:00Installing a K&K Sound Aloha Twin Ukulele Pickup.I've seen more than the usual number of ukuleles this month. Nice ones, too. A gentleman contacted me about amplifying his Martin tenor (all koa - a gorgeous instrument). He'd purchased a soundboard transducer from K&K, which I've installed before. Working within the close confines of a mid-size uke presents a step up in the complexity department. The soundholes are too small to allow your whole hand inside, and the scale length is just a little too long to allow one to reach the desired location using fingertips. Well, it's possible to reach, but precise placement requires luck.<br />
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There are two options for installation - thin double-stick adhesive can be used, or superglue, which provides better clarity and tone transfer. The owner was looking for nice clear articulation, and as this was to be his stage instrument he like the idea of rock-solid attachment.<br />
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The transducers (there are two of them) need a clean, flat bridge plate. I used a small sanding block. (This is really important in older instruments where oxidation and atmospheric oils can prevent proper adhesion, or in guitars with rosewood bridge plates.<br />
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After sanding it's important to clean the surface. A towel lightly dampened with alcohol does the trick.<br />
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Precision in placement makes a difference! With the glue method you only get one shot, and in the heat of the moment, working upside-down in a mirror it's easy to lose one's bearings. I like to give myself some guidance marks. A set of clamping hemostats and the stub of a pencil suffice.<br />
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This way I can measure and place the transducer dots between the 1st and 2nd, and the 3rd and 4th strings for optimum balance and volume. Right under the saddle is the place to be.<br />
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I choose to install the jack first, as there's enough play in the wires for me to access the dots through the soundhole. The jack hole is drilled undersize, and a tapered reamer is used to sneak up on the proper diameter. Drills tend to chip out the lacquer, or in really bad cases they can tear out pieces of the side wood. I use a little right-angle probe with masking tape on it to mark the thickness of the end block. I can then set the internal nut and washer for the jack at the correct depth and not have to keep test-fitting it until the proper amount of thread is exposed.<br />
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This is the end of a standard 1/4" (6mm) jack glued to a length or thin bamboo dowel. I plug in the jack and fish it through the endpin hole. This is helpful in full-sized guitars, absolutely essential for instruments you can't fit your hand inside. (Electrics with f-holes, etc.)<br />
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Here's the real trick. A piece of 1/4" (6mm) by 1/2" (12mm) aluminum bar bent into a funny shape that lets me provide adequate pressure against the bridge pad.<br />
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The Aloha has a little lip where the lead wire contacts the disc. I made a cork pad with a recess to accept the wire. The dot is held in place with a little bit of double-stick tape. This releases easily after the glue has cured.<br />
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A couple of deep breaths to focus the mind and steel the nerves. I like to use very fresh medium viscosity super-glue. The gel works too, but it's slow to set and you have to hold it in place for a long time. There we have it. Nicely positioned and firmly attached! I like this pickup. It's got a whole lot of output and sounds great, even without a preamp.<br />
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<br />Ted Woodfordhttp://www.blogger.com/profile/06671403838148439452noreply@blogger.com2tag:blogger.com,1999:blog-5534423597942705553.post-82430839253605198352015-04-25T13:30:00.000-04:002015-04-25T13:36:43.797-04:00 Closing the box on a red cedar / East Indian rosewood guitar.<br />
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Five fans and a deeply angled diagonal transverse bar are elements picked up from the design of Miguel Rodriguez Jr.<br />
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<br />Ted Woodfordhttp://www.blogger.com/profile/06671403838148439452noreply@blogger.com0tag:blogger.com,1999:blog-5534423597942705553.post-34952872683626485162015-04-01T21:52:00.000-04:002015-04-01T21:52:03.484-04:00A Morin Khuur repair.I receive a large number of comments and emails regarding a Mongolian instrument I built some years back and profiled on this blog. At the time, I had only a few photos to work from and extrapolated things like string length and box dimensions by scaling up details from the pictures.<br />
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Recently I was contacted by the owner of a bona-fide genuine Mongolian-made fiddle. She has had difficulty keeping it in tune from the beginning and wondered if there was something I could suggest. We discussed options and I came upon a plan to retrofit it with mechanical tuning machines.<br />
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To start with, for a student-grade instrument it has some beautiful carving. The tapered pegs it was fitted with didn't seem to correspond to the usual 1:30 found on violas, or the 1:25 commonly found on cellos.<br />
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The multistranded nature of morin khuur strings necessitates a large diameter peg. Unfortunately the materials used here weren't up to the task. The pegbox seems to be made from a fruitwood, and the pegs themselves *might* be an Asian variety of soft maple.<br />
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The wood is just too soft and fibrous. Assuming I had a peg shaver large enough to deal with these, I'm confident they would quickly deform. No amount of peg compound is going to help this situation!<br />
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The cheeks of the peg box were too narrow to accommodate the electric bass tuners I had in mind so I made up a couple of little risers.<br />
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<br />The shafts fit nicely into the vacant peg holes. I scribed around them...<br />
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And scraped back to bare wood for gluing purposes. Note the knot with bark inclusion! <br />
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A coat of colored varnish makes the risers less visually obtrusive. You can see manner in which the strings are held in place through the lower peg hole. I made a slip knot and cinched the string through the split shaft. It was a tight fit working in the confines of the pegbox but it didn't take long. Those thinking of trying this for themselves might graft a smaller diameter cord to the end of their strings to make the job less fiddlesome.<br />
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The owner expressed some remorse about having to lose the traditional appearance because the pegs are stylized ears, after all. I reasoned that by fitting the pegs into the exit holes, which are considerably smaller I could mark where they fit snugly, amputate, and then graft the resultant nub back onto the shaft. Some glue and a screw hold them together.<br />
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It worked well! As do the machine heads. Tuning is now a breeze.<br />
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It's a handsome instrument. The box is made entirely of cedar. I'm not exactly sure how the arching was accomplished, as it's all in one plane around the perimeter. <br />
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<br />Ted Woodfordhttp://www.blogger.com/profile/06671403838148439452noreply@blogger.com3tag:blogger.com,1999:blog-5534423597942705553.post-76772943351103665852015-02-15T15:17:00.001-05:002015-02-15T15:19:46.436-05:00Weather-beaten.<div class="separator" style="clear: both; text-align: center;">
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I had some time recently to revisit the electric bodies I've been seasoning for some years after an extended period of exposure to the elements in a harsh Canadian climate. I finished this one by very lightly cleaning and sanding with 600 grit paper and applying one extremely thin coat of polymerized tung oil just to set the patina in place. I expect new scratches and dents to appear. Right now it's loaded with some pretty raw-sounding GFS overwound pickups.<br />
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<br />Ted Woodfordhttp://www.blogger.com/profile/06671403838148439452noreply@blogger.com0tag:blogger.com,1999:blog-5534423597942705553.post-75709119341740538682015-02-03T16:30:00.001-05:002015-02-03T16:30:10.511-05:00Nuts.<div class="separator" style="clear: both; text-align: center;">
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I had occasion to retrofit a nice contemporary Gretch with a new bone nut recently, and thought I'd discuss my thoughts on this important component of playability and tone. The owner and I scratched our heads for a minute or two, trying to decide if this was factory-original equipment or not. It's a synthetic compound and there wasn't a whole lot of care put into shaping it. It functions. He didn't think it looked quite right.<br />
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It's flat on top and doesn't echo the radius of the fretboard. It's deeply slotted in parallel lines. (For reference, those are *big* strings. 12-52's.<br />
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The nut isn't solid, and it's held in place by some adhesive. I prefer to use less glue. One shouldn't need to hammer repeatedly to crack it free. Just a little rap with a block of wood and the amount of pressure you'd use if you were knocking on a door.<br />
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That's less than ideal... The ragged take-off point give the string a mushy and inconclusive place to start. They're buried pretty deep, too.<br />
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Clean off the old glue!<br />
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The slot varies in width from .227" on the treble side to .239"on the bass. It's good to measure these things before taking a file or sanding block to the bone blank. -Make the bone blank an even thickness and by the time it fits nicely in the tighter side of the slot it would be flopping around on the other side. It's not hard to match a little taper like this and it's less stressful than trying to score and cut the nicely lacquered headstock overlay. <br />
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Filing to width involves scribing a line to work to, then repeated trial fitting until it feels right.<br />
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The pencil has been planed down to half it's usual thickness. It rides the surface of the frets and acts as a guide for slotting depth and preliminary shaping.<br />
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The new nut has a more graceful profile that follows the shape of the board, slightly higher on the bass side.<br />
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The bass strings only need to be seated about half their diameter. Excess material surrounding them can hang up and cause tuning issues. On bone or (legally obtained) ivory that material can be brittle and crack off. All edges should be nicely radiused with no sharp corners! The profile should be smoothly rounded and provide a good bearing surface, not too long, not too short.<br />
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Slanting the string slots a little towards their respective tuning posts helps tuning and prevents premature wear. Two tiny drops of CA glue hold it in place, ready for play!Ted Woodfordhttp://www.blogger.com/profile/06671403838148439452noreply@blogger.com0