Muswell

Sometimes I browse my CD collection at random but then I might play through all the Haydn string quartets twice, alternating the sets I have, or the Mozart symphonies. I like hearing how the music progressed over the years. Sometimes I have a few weeks of opera and I often play music I am working on, as a study tool. I don't think there is any logic.

I did mine on the Tormek then flattened them on waterstones. It only takes 30 minutes then it's very easy to strop and maintain the edge.

Yes freehand and the disc was 0.9mm, although the actual notch is a bit bigger. The blade works just fine.

I made my own toothed blade using a cutting disc in my Proxxon. It's easy to do.

He must have thought you had to learn to take the rough with the smooth

I once had to make a couple of black guitar necks. The problem with spraying is that you need quite a lot of coats to kill the pale wood colour. After quite a lot of experiments with Indian ink and black hair dye I found the best bet was ebony spirit wood dye to get the wood to be almost black, followed up with a black ebonizing lacquer spray finished by some black French polish. It worked quite well and I'm sure I could have improved the process if I had done some more.

Just like playing then ....

I measured the temperature on my 4ft tubes and found that the tube and the electronics were each 10C above ambient temperature while the metal casing was at ambient. Considering the small surface area of the electronics compared with the tube I thought it wasn't worth the effort of rewiring, and fitted a small fan. Now I run all 4 tubes with no water dish and wick and don't worry about temperature and humidity.

I expect that could be done if you didn't think about what you are doing. I use the TIN coated spiral cut, and like it a lot, but have an old straight cut which I have used for steering corrections

A set of Wittner violin pegs weighs 42g, before trimmming, compared with 22g for ebony pegs. My wrist watch weighs 62g. Use the Wittners and take off your wrist watch.

I had a very good classical guitar and a lute stolen. Allianz were very understanding and accepted that neither instrument was replaceable, like for like, and gave me the money very quickly. The household insurers who covered the other stuff which was stolen were more difficult and I was very glad the instruments were with a specialist.

I made an 8 string guitar, which wasn't an archtop, with a violin-type bridge for a friend. He wanted to have a soundpost too but I read about someone who had tried it and it was not a success. Apart from anything else I think a problem would be that you would be diverting input energy straight to the back, which is damped by contact with the players chest, or belly in some cases. I also thought that you might need to arch the back , or put in some bracing on the back, to take the forces from the soundpost. Anyway, I convinced him that we should go one step at a time and start with the bridge. I built that and he was happy so I managed to avoid any more messing around.

Brandy? You aren't drinking rubbing alcohol are you?

When I modified the wooden plane, which I use for general woodwork, I finished with the gap at 2 mm. My jointing plane is 0.8mm. If I were going to modify your wooden plane for centre joints I would start with no gap and then gradually increase it until it does what you want, using the iron as a reference to keep it all square.

I had the same problem and I set a piece of wood into the sole to close the gap from the front.