Jonathan Stewart JM Stewart Guitars
Forum Replies Created
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Dang, I was hoping I wasn’t up Shits Creek with just a spoon lol
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I will try the Nikawa after the Bjorn…I am a sucker for a Japanese product
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There’s a tone bar loose but nothing major is loose.
Like I said, the plates that are used with the plate in did some, but it’s still sunk in pretty noticeably, the photo with the straight edge was taken after two treatments with the “pro-plate” belly reducers.
The photo with the granite plate was yesterday just before posting this, just after I put in the first non-plate belly reducers.
In a few days I’ll pull it apart, but I feel like the whole setup is still sunk in, and I can’t fit a scissor jack and all those clamps at the same time lol
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Probably hide glue
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Well, here goes nothing on the maiden voyage!
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I glue the bridge on after finishing. I go for HIgh-gloss, and I find it easier to buff everything out whit the bridge off, then clean the bridge footprint with scraping before gluing the bridge on.
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All three of these guitars were made from the same Torrified ADK Spruce from Stew-mac, and sinker mahogany back and sides from the same slab
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Im no expert shimmer, having only about 50 under my belt at this point, but I make my shims and thickness them unattached to the guitar. When I am ready to Glue everything together, I usually use a dab or two of glue to attach the shims to the “tenon” of the dovetail, then coat the outside of the shim and the rest of the “tenon, and also coat the interior surfaces of the “mortice” of the dovetail, and then clamp it all home with a prayer and a piece of coal between my cheeks lol
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So conclusion….good news bad news…….with the help and advice provided, I did get much closer to the color scheme I was after, one more wide dusting of medium brown and I think I would have nailed it……now to the problem….Im having trouble keeping my binding and rosette clean. my first attempt I tried to scrape after all color was applied, and this time I tried to tape off the areas, and the rosette turned out ok, but the binding tore away finish with it in some spots.
I think my issue is two fold, or maybe one fold, maybe no fold…..im using Crystalac Brite-tone as my finish. The colortone/trans-tint seems to need quite a hearty dose to result in much color application at all with this top-coat, meaning that I think I may be continuously under applying color, which results in lots and lots of coats to get the color I want, and that builds up to much finish on the tape, thus resulting in the tape pulling finish away….it probably also didnt help that I didnt allow the finish to cure fully before I pulled the tape, but I still think im applying too much top coat for the color application I want…
Anyone have much experience with water-based products and transtint/colortone, specifically Brite-tone?
Should I maybe consider another inert method of color application, IE: maybe the zinsser Sealcoat product to mix my color into?
Any thoughts <font color=”#dd9933″>@patreon_29456951 </font> @ianhatesguitars
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The cnc is just sort of a separate ask I suppose.
So your saying you do most of your work
Before inlay, then inlay and level, and redo some of the finer lines and engraving that’s lost in the process?
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Can you email me these photos, there turned sideways here and im struggling to make a turnbuckle out of parts from the local hardware store. Does anyone wanna just sell me theirs lol?
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So im thinking, heat the area of FB extension, use a putty knife to break as much of the joint between top, block, and braces as I can, then use a spreader against the tail and neck blocks to push things back into position. Once im happy with where it all is, ill get some epoxy into the glue joint previously separated in the extension area, cross my fingers and hold my butt-cheeks tight!
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IF you have wisdom here, send it my way, looks like this one, and the 46′ I have will have to be opened up and worked with the top and or back off lol
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If I could flatten the top properly, I don’t think I’d need too. However, looks maybe like pulling the back off and trying to flatten out the top with weights against a radius dish may be the way to go
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there was only one headstock support, but you only need one
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I just found the .docx file…doh!!
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Thanks randy, I think I figured it out, little less intuative then I was hoping for, but I got it!
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Hey Ian, have any links to videos where mike demonstrated this device. just trying to find appropriate squeeze clamps/bar stock and how he assembled it all together. Specifically, if he epoxied the bar stock to the squeeze clamp
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Hey Dave, as you have assembled this previously, was there a particular brand or size squeeze clamp that needs to be used, and any other things to grab from the store other than the machine screws?
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I used to tic-tok quite a bit and got a little following going, but working on guitars always seems to take priority over hitting record and setting up cameras. Maybe ill get back into it!
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Let me know how it goes randy!
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MAke sure your graph is set up properly to view the info as well.
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It does not seem to move much with adjustment of the rod, although it seems like some sort of putty of a kind has been used to close up that gap at some point in the past, which leads me to presume it may open again in the future…..just wonder if a new neck is, although certainly the most laborious route, but the most responsible for the longevity of the instrument
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Prep was essentially the recommended britetone method, sand wood to 220, spray 2-3 coats of their wood sealer to get a smooth surface sanded to 320ish , I thin apply color mixed into the clear brite-tone product, always waiting for a completely dry surface before spraying more color coats.
Thanks for the fade props, I was pretty happy with it until my tape on the binding ripped the color away
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is the golden brown anywhere close to the nazareth mahogany?
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do you think the “transtint” Dark Vintage Maple could get there to that center color?
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Im working with a mix of transtint and stewmac “colortone” pigments although I think stewmac is just transtint rebranded. When you say Vintage Amber I presume you mean colortone from stewamac?….that being said im also using Crystalac products for my finishing. attached is my first attempt, but I think my base coat is too yellow, and band is to think and dark…I think this is mostly transtint standard amber, maybe with a touch of dark vintage maple, with a drop or two of the crystlac red pigment for the base coat, and dark walnut for the outer band….when I get my spray booth back together, ill try again with some testers and post results
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Apologies for not being on here as often as I should, lots of projects and sound gigs, but attached are a few examples of “ambertone” im after…..Norman Blakes 1933 D-28, a Custom SHop 00-42 John Mayer and a standard D28 “ambertone”…….Ive done Bursts before, 2-tones on strats with results I liked, simply mix transtint amber for the base, and some Tobacco Brown for the edge…..the “ambertone” seems to have a darker, and more redish hue to the initial base color coat, then a very light, almost transparent edge color with a warm almost mahogany brown maybe? If anyone has any tips about how to go about mixing up that initial color I think thats what I need help with most of all.
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lol, thankfully, I finish using low VOC Water based Brite-tone from crystalac, mainly so my shop doesnt increase its spontaneous combustibility by 10,000% when I spray. I can use non-Explosion-proof fans, but it still has overspray and theres always ambient dust in the shop.
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Same…..the pucker always activates
