[Michael Bashkin Bashkin Guitars]

Hi Benn:

My layers are:

Metal slat

heat blanket 1

wood

heat blanket 2

Metal slat

[Michael Bashkin Bashkin Guitars]

Hi Benn:

I don’t think this is the problem but I would avoid using wax paper as it might cause gluing or finish problems down the road. I’d suggest trying oven/parchment paper or AL foil. The wax paper might also “trap” the moisture and lead to some of the staining.

Doug fir is full of resin and so while good to practice on other species might give you less of a problem. You probably have water pooling in that area so 1. try less moisture 2. 270 is fine for bending temp but once the bend is finished you can tune the temp down to 220 – 250 and you are less likly to get discoloration. 3. Use a top blanket as well and your bend will go smoother and evap. the mositure in the areas it is pooling. I always use two blankets. 4. Don’t listen to anything Chris says.

Thanks

Michael

(Just kidding about Chris. He is a brilliant builder)

[Michael Bashkin Bashkin Guitars]

HI Larry:

I’ve made parlor and OO size guitars with 24.9 and 25.4″ scale lengths and there are no issues with intonation as the body size won’t affect intonation. Intonation factors are: correct fret, nut and saddle placement, string gauge, overall setup on the guitar, the player and fret height to a small degree.

[Michael Bashkin Bashkin Guitars]

Hi Ray:

I use solid linings and do a laminated glue up of three pieces in a male/female form, in about a 4″ width which is enough for one guitar. With accurate forms the linings fit the sides well and I am looking to increase the stiffness. The linings are full shaped and bent before they are attached to the sides. For me, I’ve found that inorder to have a consistent lining height, that shaping the back linings to match the taper and radius of the back makes for a precise fit. Others, like Michael, have not found this necessary or use 1-3 sections to get around this. I don’t think the species matters to much but I often use Cherry.

[Michael Bashkin Bashkin Guitars]

Hi: I treat side thickness on Braz like any other wood and have not found that it needs any special treatment (other than your bank account). Of course, if the sides are figured or has flatsawn areas, knots etc., you may get some localized cupping.

[Michael Bashkin Bashkin Guitars]

Hi: To put some more numbers on it my rosewood bridges range from 17-21 grams and ebony 22-28 grams. I tend to use rosewood but there are cases where I prefer a heavier bridge to either bring the top resonance down or decrease the monopole mobilty for a guitar intended for flatpicking and strumming. All in all I think its is a good practice to match the bridge weight regardless of species to the top and the goal sound for the guitar.

[Michael Bashkin Bashkin Guitars]

Hi: I suspect you are bending to slowly. Once the wood is up to bending temp it is counterproductive to go to slow. If you take to long the wood dries out, becomes brittle and is prone to breaking. When I bend the upper bout I’d say it takes me about 45sec-1 min in a fox style bender and about 2-2.5 mins for the whole side. Keep in mind the wood is still wet at this point and steam is being produced and the wood is around 270-300. Also, it is important that the outside of the bend is supported by the bending slats.

For Mahiogany I spritz a bit heavier. I occasionally use super soft but I don’t think its necessary. I wrap the wood in parchment paper (it is not sealed shut), turn on the heat I use top AND bottom blankets. Once the wood starts delfecting under its own weight I will bend the waist about 80%, of the way then bend lower bout (20-30seconds), then the upper (45-60 seconds) then finish bending the waist. This is all done in the 250-310 F temp range.

Then I reduced heat to around 230-250 and let it sit for 10 min and then let it fully cool down. Most if the time I run it through a second heat cycle. With the side already fully bent and still in the bender I will bring it up to bending temp then back down to 240 ish and let sit for 5 min, then a full cool down.

There are many ways to do this and different variations but this has worked for me over the years.

[Michael Bashkin Bashkin Guitars]

Hi: I think there is a risk using vinyl sealer under tinted epoxy. Some of the solvents in epoxy might eat into the sealer coat and expose the raw wood to the colored epoxy. I would seal with one light clear epoxy and after it cures use tinted epoxy on top of that. Just something to try.

[Michael Bashkin Bashkin Guitars]

Hi Sam: You have limited options if you can’t sand out. None will look perfect. You can fill with a clear filler and you will see it. Or you can do a veneer patch. Its not as hard as it sounds and you can get decent results. The keys are to use the exact same wood and grain direction. Use spruce from under the sound board and practice your technique on scrap. Use hide glue. Let me know if you have any questions.

https://photos.app.goo.gl/hmfvSAn8yxkPbva17

[Michael Bashkin Bashkin Guitars]

Hi Robert:

Nothing special to do with Ziricote. You should wipe it down with mineral spirits or naptha and then a light coat of thinned finish or sanding sealer is all that is needed before you start putting on the body coats.

[Michael Bashkin Bashkin Guitars]

Epoxy as long as it’s scuff sanded should be compatible but I’ve not tested it in the short or long term with water based finishes. Putting a barrier coat of shellac could help with adhesion but it might have the opposite effect if one finish has more of an affinity for it than the other. But, like you said to be safe I’d stick with time tested combos based on others experience.

[Michael Bashkin Bashkin Guitars]

Hi: I had my labels done up in Photoshop and then printed through a decent print shop that makes business cards etc. They had hundreds of papers and ink colors to choose from. All in all it was pretty economical for 500 labels and I’m very happy with the result. They only thing I did not have done was adhesive backing. I just spread a thin layer of titebond on the label and apply it. I hope this helps. Thanks. Michael

[Michael Bashkin Bashkin Guitars]

Hi Samuel: I don’t use poly but I would search for finishing info by Jeff Jewitt on the loothgroup or check out his finishing courses on Robbir Obrien’s website. Jeff uses a poly finish that I think is from Italy. I don’t know if it is harder or has better adhesion than the Simtec but it is worth looking into. You might also looking into Cardinal poly finishes. For a time I used thier UV cured poly and it was very hard.

[Michael Bashkin Bashkin Guitars]

Check out Dion guitars and Tom Sands guitars. They both use structured sides as well.

[Michael Bashkin Bashkin Guitars]

Hey: You are on the right track. Just add enough veneers and as many layers needed to build up the back of the headstock and same on the front. There is nothing set in stone that the face veneer or overlay needs to be a specific thickness. Mine are around .125″, but they could be thicker if needed. You can also stack to black veneers to make it look like one thicker veneer.

[Michael Bashkin Bashkin Guitars]

Hi :

You can use the sealer under and/or over epoxy. Just anecdotally, Iv’e heard mixed reviews of using zpoxy and some people have had adhesion problems, others think it is great. It is also a good preactice to scuff between the sealer/epoxy/sealer layers.

[Michael Bashkin Bashkin Guitars]

I have always put the heat blankets next to the wood and it has worked for me. I see you put the heat blankets on outside of the metal. I think it should work equally as well but I’d suggest testing both and see what works better for you.

[Michael Bashkin Bashkin Guitars]

Yes, the bracing moves with the bridge but I’m not sure if others do it this way.

[Michael Bashkin Bashkin Guitars]

Thats great. See you in September!

[Michael Bashkin Bashkin Guitars]

Careful with the aquacoat. I’ve heard it is problematic on end grain. I’ve not used it myself though.