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Joey Naeger

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  1. https://www.amazon.com/Conspiracy-Theory-America-Discovering-Book-ebook/dp/B00CBVSLR0/ref=sr_1_fkmr0_1?crid=29424ZW0QH7TD&keywords=conspiracy+theory+in+america%2C+lance+dehaven-smith&qid=1652551857&sprefix=Conspiracy+Theory+in+America%2Caps%2C207&sr=8-1-fkmr0
  2. We've really gotten to the bottom of plate tuning. Good work everyone
  3. Great to see someone working things out in Rhino! There's probably been some overlap in our methods. I also wrote a Grasshopper script to draw my Cycloids. You input your long arch and recurve boundary and it generates all the points. I put in sliders so you could play around with point density. Probably my curve from the first post would have been smoother had I constructed it with more points. Now that I've discovered this easier hack, I will probably write another script based on that. After much experimenting, I was able to model this fully solid bass top. It's been quite an enlightening exercise, and I was able to use the model to produce some contour templates to assist in my carving.
  4. And, there is what you set out to carve and what your hands and eyes actually do. As always, I appreciate your input Don
  5. And for those who want a closer approximation of a Cycloid...If you set the bottom control point 4/17 in from the right side you get this
  6. I recently went down a rabbit hole modeling a bass top in Rhino. This involved writing an algorithm to generate a series of points through which curtate cycloids could be drawn. While this method worked, it was complicated to figure out and I noticed that the curves generated through this method weren't actually that smooth. Here's an example It's a nice looking curve until I turn on the curvature graph tool. It's not bad, but it could be smoother. Since I'm not actually attached to the Cycloid, I had the idea that maybe I could closely approximate it with a simpler, smoother curve. What I came up with is very simple. Layout your horizontal distance from the top and bottom of the curve. Divide the top one in half and the bottom in 4th's. Draw a 3 degree line between the endpoints. Move the control points like so It's not an exact match, but it's damn close. If we look at it through the curvature graph, it shows a much smoother curvature. If the whole point of using Cycloids is to generate a smooth curve that's convex for most of its length and concave near the end, this seems to fit the bill as well. The software will also be a lot happier with surfaces generated from this type of curve than the strictly drawn cycloid. I wanted to use the simplest divisions possible to generate this example, but it would be more than possible to move the inflection point around by changing the ratios used to place the control points. I hope this is helpful!
  7. If I had to guess, I'd say that's a tololoche.
  8. Has anyone tried Regalrez 1126 for this purpose? It's a synthetic, oil soluble resin used in painting conservation. It can be removed with mineral spirits. I have some, but haven't tested it's sweat resistance
  9. I think it's important when considering trades to think of it as two transactions. The customer has an instrument they want to sell you, and you have an instrument they want to buy. The first question is whether or not you even want the customer's instrument.
  10. Hi Wood Butcher, let's not moralize the issue. It won't be perfectly centered. Whether that's right or wrong depends on the OP's skill level, other possible complications the bass has, and how much value the bass really has.
  11. Great advice! This will get you most of the benefit with the least effort.
  12. If you're not going to fix the alignment, fit the bridge so that the bass leg is shorter and leans towards the E string. That way, the strings can be centered on the crown of the bridge and centered on the fingerboard.
  13. Is the neck joint solid? What's the overstand and projection? Another option is to fit a new fingerboard and "cheat" it over to align with the bridge. When you sight down the length of the board, it will look curved along it's length when done right. Also, just because your bridge is centered doesn't mean it's square to the plane of the top. I have a jig that sits on the edges to give me a centerline for neck work.
  14. For spraying shellac, denatured or everclear work fine. One note with shellac, the varnish will dry enough to lightly handle, but it may take some time to fully dry out. I do not recommend retardants like butanol for this reason. An HVLP gun is a great way to apply spirit with a couple caveats. The sprayed varnish does not flow out at all. The texture of the wood, if anything, will be amplified. This is neither good or bad, but you need to be aware and have a plan for texture. Brushing on your final coats will help mitigate some of the spray texture The color may come out too even to leave straight. The combination of excessive texture and too straight color lend themselves well to antiquing. In the process of inducing wear, you flatten the varnish out and create unevenness in color. Paradoxically, if you're doing a straight varnish, the spray gun may not yield a look you're happy with.
  15. Basses have a lot of surface area to suck up dust, debris, and accidental apron grazing. Having a dedicated spot in the shop where you can leave the bass while varnishing will make everything go much smoother. Consider whether your oil varnish requires UV and have a game plan for delivering it. Trying to move a bass covered in wet oil varnish is possible but dicey. Spirit is more forgiving in terms of handling the bass and dealing with dust, but it doesn't give you that beautiful flowed out texture. If you aren't set up to varnish basses conveniently, you'll probably have fewer headaches with spirit.
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