Stephen Faulk

I have hard thumbnails, but my nail beds are not up to the task.......there's a joke there somewhere.

I don't know exactly I'm working for that photo. I know the height is 1/2" and thickness is 4 mm and that's all. So it looks like the center to center is about 1/2" They aren't going to measure it.

I wouldn't ordinarily bother anyone with my lowbrow guitar problems, but somewhere I remember seeing trade basses with crimped liners and thought it might be a thing. These liners are about 1/2" tall and 4 mm thick...if you must know Edi. The regular liners I make are identical to cello liners, about 3 mm thick and 20 mm tall...more or less. They are smooth. Most guitar lining is smooth or kerfed. This one I want to copy happens to use crimped liners and while it's not a big deal, but I want to cross the 't's and dot the i's on this one because going to show it to some picky old f

This is the liner I'll copy, the bottom liner

I'm thinking about making a copy on an instrument with crimped liners and the crimpyness needs to be part of the copy. I've only got to make about 6 feet of it so leaning towards the idea of the vise outfitted with a metal 'tooth' to press the crimp... I remembered that once I saw a tool that looked like a mill that you hand cranked the wood through and a tooth or gear thing pressed the crimp. But I don't need to make a production tool, just a one off. I'll work up something and show it for comment.

I need to make a crimped liners tool. Has anyone ever made, or seen a good way to make a basic hand tool for creating crimped liners? A modified set of pliers? A toothed thing to use in a vise? Any ideas?

I made a video about a rib thickness stop jig I use to get even thickness on ribs. I thought those building celli without a drum sander for ribs might be interested. https://youtu.be/QpYYQzYh2RY

Awagami paper makes an injet line of kozo paper - You can find it here. Follow to an online store or in Japan I highly recommend calling them. Emails about sales get missed. They ship internationally through the online store. The inkjet kozo is top quality, and it comes in standard A-4 size which is easy and inexpensive to ship. All big enough for any instrument repair. http://www.awagami.com/aijp/index.html

You might want to become acquainted with Alan Carruth the guitarmaker and student of Carleen Hutchins. He's evaluated testing like that and can talk with great sophistication about the reasons why bowed instrument ribs benefit from being a little flexible vs. how stiffness effects guitar ribs. I can email him abut it if you like.

If you have not found a paper supplier- Awagami Factory in Tokushima - just call them. They make a few kinds of high quality Kozo's.

All between 75 and 70 cm...had them since 1998 One bass blank has grain swirl can be cut down to cello blank to avoid flaw. or not... Snakewood is plain. Bass 65 USD each Snake 50 - sell as set or bass as pair. Ships from Japan via Japan Post EMS service, 50.00 USD approx.to Europe or US.

Personality, you got......personality.......hahaha

Ceramics is exactly like the patterns and cycles James says. It has a natural flow. I also see that , and I see it right down to the way you move the tools over the wood. And the critical moments when you are voicing the top by taking less and less and analyzing were to stop is a time we don't spend all day with. All the prep work, sharpening, buys stuff, talking on the phone, joining tops, backs all that busy work is not spent in the critical minutes of the thicknessing. We do all this other stuff, and then comparatively spend very little time hands on at the most critical part. If onl

The sound of different liners is one of those things that gets into anecdotal territory- There are reasons for using different styles that have o do with a few main factors - inside or outside mold? Neck glued to the top? Build body with top and back glued on before neck attachment - and so on depending on which type of guitar is being build. The liner may effect sound, but guitars like violins are super complex and isolating the liner as a component of sound is really difficult to maybe impossible. The debate or conversation around liners usually has to with stiffness of the rim of the bo

There was a guy who developed a guitar saddle out of a kind of surgical aerospace composite graphite material. The way the company came at makers was with a condescending attitude, I think they even pitched a graphite violin bridge here. They price of the saddle was prohibitive and none were offered as learning samples. The product was kept as a proprietary secret and users were encouraged to ship the instrument to the maker for installation and paid $100.00 US for the saddle. Eventually no one liked the idea and it evaporated for now. It was really a problem in search of a solution. I'm a