Levelling the fingerboard

20151105
I was not satisfied with my #1's fingerboard.
The relief is too excessive: even though the action may be 3 and 3.5mm, the upper frets is still quite hard to play.
So this day while pondering over how to install the continuing lining with the side braces for my #9, I redo the fingerboard for my #1 instead.

The frets were all removed, I was quite amazed how shoddy the fret work was then.
Well can't be help as I didn't have the tools to file away a bit of the fret ends then.
So this time round I made it right.
The fret barber remover by Stewmac was really a great purchase, not only the fret barbs was remove easily, I can use to correct the shape of the frets after removal.
Thus the frets can be reuse easily after removal (since there is no much wear and tear).
After the fret were removed, I began to shave off the fingerboard at the nut end to correct the excessive curvature (relief). I use my high angle plane which plane the ebony easily and without any tear out.
I constantly check for the straightness of the fingerboard.
After all is levelled, I sand the fingerboard up to 320 grit.

Then the process of fretting begins which is quite tedious as I need to file the file ends, thin down the studs.
Finally when I all is done I check the string height at bridge region which is within 10mm to 12mm (the optimal height for classical guitar)
When I strung up, the guitar plays wonderfully! Nice!


Someone brought in a guitar for me for repair too.
The top has a crack developed at the end lower bout's right wing.
However upon putting my hands in to check the crack, I realised it's has been repaired.
There were 3 diamond cleats glued at the place where the cracks developed.
So the maker might have know something...
Anyway since there is no need to glue in any cleats, I help him to make another saddle for a slightly higher action.


20151117
Some updates on this guitar.
The maker has replied saying he reinforce the region beforehand as it look weak.
Well that's a legitimate reason.

After this guitar 2 more people has brought the guitar for me to repair.
First one was just a simple set-up (lowering of the saddle) and the other was having a buzz problem.
The first guitar was a Estudio Ramirez.
Not only the saddle was with high action, but the slot of the saddle was actually curved.
So I use my 2 mm chisel to flatten the base of the saddle slot at the bridge.
This guy was complaining to me about another luthier which didn't do a good job for him regarding this saddle.
Well I don't really know what was happening then so I refrain from commenting too much.
I duplicated the saddle but with 1 mm lower.
The action was spot on

For the 2nd guitar, I located the buzz to be a fret problem (too high).
Since the fret was seated properly, I had to file it down and re-crown it.
After that the buzz was gone.
Initially he though the buzz was caused by a loose brace.
My examination did not seem to suggest so as there was no wood rattling sound, more of a metallic rattle which would suggest the string hitting the fret.
After checking the fret 3 by 3, I found a particular fret was higher than the surrounding frets.
So I proceed to lower it accordingly.
After the repair I gave all the fret a steel wool polish to restore the shine.
Sorry no pics to show anything.

Pulling out the frets

Planing the fingerboard at the nut end

Installing back the frets

Another view

Done

Action at 12th fret

Now the relief is just nice!

The guitar which was already cleated. 3 diamond where the crack was.
This means someone in the original workshop must have known that the crack was already there and repair it.
IMO I can safely rule out the owner's fault nor due to shipper's mishandling (unless the shipper knows how to repair guitar haha)
Anyway I won't say who's the maker, since I do not know exactly the entire process of what's happening so it's unfair for me to comment further.

Rework on the intonation on my #1

My #1's intonation is not good.
I always wanted to redo it but haven't found the time and effort to do it.
The main reason is because I place the bridge at exactly 650mm spot.
By right the slot need to be at 652mm to adjust for the intonation.
So the 12th frets were always too sharp and it's hard to get the open string in tune.
So I decide to do something about it.

One consideration was to take out the bridge and reposition the bridge.
That would be a major operation and 2nd is to redo the slot.
At that time my skill wasn't that precise and the slot wasn't entirely straight.
So I decide to redo the slot instead.

I refile the slot to make it more square.
Then I dimension a piece of IRW and glued it in using hide glue.
When the glue is dried, I make a rough jig for the B&D RTX rotary tool to sit on.
And clamp 2 Aluminium bar as a rail for the RTX.
After double and triple check I route the new slot in 3 -4 passes.
The end result is a new straight slot at 652mm.

I reuse the same saddle and check the intonation.
The E Bass was dead on, probably about 653mm I refile the edge forward a bit, it was all the way t to the back initially.
The rest is slight sharp but not too noticeable.
All and all a well done :)

While waiting for the glue to dry I redid the headstock.
I cut the string slot from curve ramp to become square ramp as per my other guitars.
Also I chisel the Torres 3 lopes for the headstock.
Now what's left will be to do the pore filling and then French Polish.

Square up the slot.

Glue a piece of IRW into the existing slot with hide glue.

Wait for the glue to dry.

Plane the the excess IRW

Leveled flush and slightly gleaming.

The roughly made (but works) jig: just a base for the RTX to ride on. The Al bars act as the rail guide.

Checking the points of routing.

Start routing in 3-4 passes. Going deeper at each pass

Slot done.

With the original saddle. I file the leading edge forward abit.

Saw the straight ramp. 2 cuts at each side.

Chisel the waste away. The line act as a guide to know where to start.

Slot ramp done.

Headstock Torres 3 lop shape done. Need to sand it smooth though. I chisel while the string is on :) Lazy to remove them.

Guitar #1 vs Guitar #2

Well Guitar #2 is done.
I brought #1 over and compared with #2

Here are the clips
Projection test @ 5m away from the mic. Now which is which make a guess?
Answer at the end of the post

Lagrima
Guitar 1
Guitar 2

La Catedral 1st movement
Guitar 1
Guitar 2

IMO #2 treble is better, has better sustain and the harmonics are richer.
#1's treble has more fundamental and the harmonics seemed to be a further distance away.
Bass wide #1 bass is more even and #2 need more effort to bring out the bass.
The volume wise, #1 just a little louder than #2.
Overall they are similar but yet different.
I used both Aquila Albastro strings on them.
The Aquila nylgut string always works well for Torres fan bracing guitar. (exclude Hauser bracing)

When we compare to the redgate, both of them are louder than the redgate...
Redgate's note are very even much like a piano.
Bach pieces sounded nice on the redgate but not Spanish pieces where the notes need more character.

Guitar #1 on the left and Guitar #2 on the right

Guitar #1 on the left and Guitar #2 on the right

Towards the end of the session, the #2 did open up and seemed louder.
The bass became more prominent.









Ans: 1st guitar is #2 and 2nd guitar is #1, now which one do you like?

Installing the fingerboard marker

I install the fingerboard marker on my guitar #1.
The process was quite simple.
I drill the hole of the right size, apply some PVA glue and glue the MOP marker,
and finally file it level.

Drilling the hole of the right size.

The hole drilled

Glue the MOP in and level it.

Thickness Measurement Tool

Thickness Measurement Tool
I started to make a frame for the electronic thickness dial gauge which I bought from Rockler.
At first I was thinking of sawing a U-frame out of a plywood but I noticed I had quite a lot of excess pine blank which I can use.
So I decide to make a frame out of the scrap pieces of pine that I had.
But after gluing up I noticed it wasn't as rigid as it should, so I added an aluminium piece to strengthen the structure.
Well the Al piece did work.
After adding the Al piece, the throat is about 30 cm.

Next I managed to scoop a depression to fit the dial gauge's fixture.
Finally I would need to glue a extension to touch the bottom of the dial gauge's needle.

The bottom nut is done.
I simply mark where the dial gauge needle would be and drill a 6mm hole.
Enlarge the bottom side to accommodate the T-nut.
But I didn't manage to knock the T-nut all the way in.
After screwing in the bolt, I also file the top of the bolt flat and rounded at the edges and smoothen with sandpaper.

Clamping the fixture

The dial gauge almost done.

Gluing the end piece for the extension to touch the needle

Aluminium piece to strengthen the rigidity of the frame.

The thickness measuring tool done.

Close up shot

Added the bottom adjustable screw.

Beneath is a T-nut. On top is a normal nut to lock the height.

The side view

Readjusting the neck angle and relief of Guitar #1
My guitar #1's geometry wasn't good at all.
Due to the too forward neck angle, the action at the treble side becomes too high.
Also the relief at the bass side is too straight for at the 2nd fret region.
So I decide to remove the frets and plane away some finger board at the head end to correct the angle.

At first removing the fret seems really daunting.
But I muster the courage and try on the 1st fret.
Surprisingly the fret comes off pretty easily.
Unfortunately it also chips at the tang area.
But luckily I am going to remove some fingerboard so the chip part will be removed.
After planing, scraping sanding, I visually check the curve and adjusting until I think it looks right.

Then I also plane more curvature at the 2nd fret region to correct the relief for the bass side.
After that I knock back the frets and try. Voila!
The bass finally doesn't buzz.
But I did create some buzz at the 5th string around the 4th fret region.
Then I think it due to the nut should be easily fixed.
Overall now I am more confident to doing a re-fret job.

Removing the frets

Scraping to smoothen the surface after planing

I also did something to the solera please read the solera post.

Fret crowning & Headstock

Fret crowning.

My tools from LMI finally arrived amongst them are some scrapers, burnisher, fret crowning tool, clamp, fret file.
I began to use the fret crowning file to round the frets.
Then I use the triangular fret file (corners rounded file) to round the edge of the frets.
Finally I finished the frets with a steel wool.


Fret crowning


Remove the edge of the fret

Headstock
After that I began to work on the head stock.
At first I was aiming for a Torres three bun shape headstock design but my lyre tuner machine need alot of wood above the top roller, I am left with limited wood for cutting.
So in the end I went for something similar but with gradual curves as with all the designs of this guitar.
I use dozuki to remove a portion of the headstock and started to round the shape using files.


Removing waste wood in the headstock using file


Same as prev.


Rough shape


Curves


Done!


Gluing the end cap
Finally I glue the end cap


Applying PVA white glue


Glued in


Clamp tight

Side track: Redgate guitar
For the past week I strung up the guitar and played it.
The sound was impressive.
I showed my friend the guitar and he suggested that we bring along our other guitars for comparison
He brought along his Jim Redgate guitar 1995 spruce top Indian Rosewood (laminate) Back and side guitar.
I had the opportunity to photograph the interior.








Lattice braced with carbon fibre


No back braces


Left side of the lower harmonic brace


Right side of the lower harmonic brace


Center


Upper harmonic brace


Neck block


The other side


His signature

We compared the sound, we did discover that the lattice bracing Redgate was more balanced throughout the range.
The notes was abit laid back and did not respond immediately but the dying part was pretty much delayed.
This was consistent with the Smallman's idea.
My guitar's sound was different animal altogether.
The sound simply exude out without stopping - raw power.
The dying off part was pretty much faster too.
(It does have some nusance sustain)
This is perhaps what John Williams termed as percussive.
But amongst the 3 mine was the loudest.
The Gutmeier Fleta paled in comparison to the other 2; probably because it hadnt been warmed up yet.
The last time we had a comparison betweeen Gutmeier and Redgate the Gutmeier took 1 hour plus to get warmed up.
Next time I will record something...


Sound Clips
I have been busy, but well the guitar is strung up and being played right now.
But I haven't got around to start the finishing (French Polishing) process that is to coat the guitar with protective layer of Shellac.
Shellac is a natural excretion from the lac insect.

I brought around to let my friends tried, well all have good comments about it.
But the fret work is sharp at certain points so I had to rework on the fret crowning etc...



Clearing the burr at the edge using the crowning tool.


Usually this is done using file w/o handle to make a taper but I seems to to misplaced my file.
So I use this instead.


Then I file the edge of the fret at various angles.


Another angle


Another angle

Also I rework on the neck making it thinner.
It used to be quite thick and very uncomfortable in playing.
I reshape the back of the head when I thin the neck.


The neck is shaped to a more pleasant looking curve


Using light to make the curves more visible.

And now for the sound clips.
... I just realise this blog cant upload sound clips...
Let me figure out how to upload...