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the mimforum tool store
Description
MIMForum Tool Store: tools for building acoutsic guitars, making electric guitars, and more.
Tools for guitar making, violin making and other forms of lutherie, woodwinds and brass, keyboards, experimental musical instruments; as well as acoustical physics and the physics of music.
tools, music, guitar building, guitar making, lutherie, recorder, flute, brass, keyboards
Tools for guitar making, violin making and other forms of lutherie, woodwinds and brass, keyboards, experimental musical instruments; as well as acoustical physics and the physics of music.
tools, music, guitar building, guitar making, lutherie, recorder, flute, brass, keyboards
Category
Date
May 21, 2005
Contact name
Email
Link ID
8346
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Welcome to the world of Fuzz Research Labs, home of Dr. Fuzz. Our goal: ongoing research into the sound of the guitar, both acoustic and electric, in all it's tonal varieties. Specific focuses are guitar construction, fuzztones, and guitar synths ...
Category:
The neck cork is one of the more critical, but often overlooked parts of the saxophone. Frequently players will suspect poor pad coverage or adjustment problems when the real culprit is an improperly fitted neck cork. If the cork does not fit the mouthpiece correctly, there may be a small gap at the end of the neck. This gap can cause poor response and "warbling" in the low register. The mouthpiece should fit snugly in all positions on the neck and should not wobble when pulled. If it does, the neck cork is too small at the end of the neck and it needs to be replaced. Of course, if the cork is chipped or loose it also should be replaced.
The first step to proper replacement is the safe and complete removal of the old cork and adhesive. There are several ways to remove the cork and each of them has its' advantages and disadvantages. One of the safest is to scrape or peel the cork off to expose the adhesive used to hold the cork. Just remember to scrape toward the end of the neck so as to avoid scratching the neck. Once you have exposed the adhesive, you need to clean off all of it to obtain the best bond possible. You do not want the cork coming off when you pull off the mouthpiece.
Depending upon the adhesive used, you need to use a solvent to remove it. Alcohol works well where the adhesive was shellac based, but I prefer to use MEK. It removes contact-type adhesives as well as shellac. You need to avoid contact with the rest of the neck as MEK will dissolve some lacquer finishes. Once the adhesive has been completely removed you are ready to proceed.
Measure the distance from where the old cork was to the end of the neck. Cut a piece of 1/16th inch sheet cork about an eighth of an inch longer than you need. On one of the narrower edges, cut a bevel of about 45 degrees. This will be used to create the lap when you put the cork on the neck.
Depending on the character of the cork, it may be best to flex the cork and maybe even "pound the pith" out of the cork so it will bend around the neck without breaking. Once the cork is softened, you should spread a thin coat of contact cement on both the neck and the cork. When you glue up the cork, you need to apply glue to the side of the cork that will be placed against the neck, and also on the beveled edge that you cut for the lap. After the glue has dried tack-free (usually just a couple of minutes) you are ready to put the cork on the neck. Holding the neck vertically in front of you, estimate how much cork it will take to put the lapped edges on the underside of the neck. Now starting from the center of the neck, press the cork against the neck making certain that the bottom of the cork is perpendicular to the centerline of the neck.
Placing the lap on the left side allows you to turn the cork in the lathe and have the lap not pull up. Starting on the side with the lap, press the cork firmly onto the neck so that the cork follows the angle of the neck. Once that half of the cork has been glued to the neck, you press the edge of the cork that has been cut for the lap firmly onto the neck. The best way to do this is to wipe off your thumb so as not to contaminate the glue with oils and press down along the edge. Now wrap the other half of the cork down onto the neck. The cork will go down at an angle and may become uneven. As long as the cork still overlaps the top of the neck and is tight, it will be fine. You will make it look right in a moment. Now cut off the remaining cork at the lap. Cut this as close to the surface as you can without gouging the cork. Trim the excess material from the end of the neck, and make the bottom end of the cork straight by squaring the cut at the lap if necessary ...
The first step to proper replacement is the safe and complete removal of the old cork and adhesive. There are several ways to remove the cork and each of them has its' advantages and disadvantages. One of the safest is to scrape or peel the cork off to expose the adhesive used to hold the cork. Just remember to scrape toward the end of the neck so as to avoid scratching the neck. Once you have exposed the adhesive, you need to clean off all of it to obtain the best bond possible. You do not want the cork coming off when you pull off the mouthpiece.
Depending upon the adhesive used, you need to use a solvent to remove it. Alcohol works well where the adhesive was shellac based, but I prefer to use MEK. It removes contact-type adhesives as well as shellac. You need to avoid contact with the rest of the neck as MEK will dissolve some lacquer finishes. Once the adhesive has been completely removed you are ready to proceed.
Measure the distance from where the old cork was to the end of the neck. Cut a piece of 1/16th inch sheet cork about an eighth of an inch longer than you need. On one of the narrower edges, cut a bevel of about 45 degrees. This will be used to create the lap when you put the cork on the neck.
Depending on the character of the cork, it may be best to flex the cork and maybe even "pound the pith" out of the cork so it will bend around the neck without breaking. Once the cork is softened, you should spread a thin coat of contact cement on both the neck and the cork. When you glue up the cork, you need to apply glue to the side of the cork that will be placed against the neck, and also on the beveled edge that you cut for the lap. After the glue has dried tack-free (usually just a couple of minutes) you are ready to put the cork on the neck. Holding the neck vertically in front of you, estimate how much cork it will take to put the lapped edges on the underside of the neck. Now starting from the center of the neck, press the cork against the neck making certain that the bottom of the cork is perpendicular to the centerline of the neck.
Placing the lap on the left side allows you to turn the cork in the lathe and have the lap not pull up. Starting on the side with the lap, press the cork firmly onto the neck so that the cork follows the angle of the neck. Once that half of the cork has been glued to the neck, you press the edge of the cork that has been cut for the lap firmly onto the neck. The best way to do this is to wipe off your thumb so as not to contaminate the glue with oils and press down along the edge. Now wrap the other half of the cork down onto the neck. The cork will go down at an angle and may become uneven. As long as the cork still overlaps the top of the neck and is tight, it will be fine. You will make it look right in a moment. Now cut off the remaining cork at the lap. Cut this as close to the surface as you can without gouging the cork. Trim the excess material from the end of the neck, and make the bottom end of the cork straight by squaring the cut at the lap if necessary ...
Category:
Eastman Strings, Modern Instruments, Old-fashioned Quality.
Eastman Strings is widely recognized as a leading maker and distributor of fine stringed instruments and bows ranging from fractional size instruments for young beginners to outstanding master instruments and bows for advanced and professional players. Over the years, we have striven to supply musicians with the best possible quality at reasonable prices.
The wide variety of instruments available from Eastman Strings includes Chinese, German, and Eastern European lines. All are distinguished by their quality materials and expert craftsmanship.
Instruments by Eastman Strings are crafted using traditional methods and materials. Aged tonewoods and quality hardwood fittings are fashioned by hand by talented craftspeople under the guidance of master luthiers in precisely the same manner as the famous German and French workshops made them a century ago.
Our German instruments are constructed in the traditional cottage industry style, with specialists collaborating to create instruments in the manner of the Mittenwald and Klingenthal workshops of the 17th, 18th, and 19th centuries. Final adjustments, graduations, and finishing are completed in our USA workshops.
Bows provided by Eastman Strings are made by hand in small master workshops using traditional Permnambuco and Brazilwood sticks and ebony frogs with authentic nickel, silver, and mother-of-pearl fittings. In addition, Our K.Holtz and Cadenza bows employ modern materials to achieve age-old standards of weight, strength, and suppleness. Eastman Strings donates a percentage of the proceeds from ALL bow sales to the important conservation efforts of the International Pernabuco Conservation Initiative.
Each item Eastman Strings makes and sells has its own story to tell, yet all share one important aspect: they are created with integrity by people who care about your music making.
Eastman Strings, violin, viola, cello, bass, bow, maker, handcrafted, quality, instruments, Chinese, German, Eastern European
Eastman Strings is widely recognized as a leading maker and distributor of fine stringed instruments and bows ranging from fractional size instruments for young beginners to outstanding master instruments and bows for advanced and professional players. Over the years, we have striven to supply musicians with the best possible quality at reasonable prices.
The wide variety of instruments available from Eastman Strings includes Chinese, German, and Eastern European lines. All are distinguished by their quality materials and expert craftsmanship.
Instruments by Eastman Strings are crafted using traditional methods and materials. Aged tonewoods and quality hardwood fittings are fashioned by hand by talented craftspeople under the guidance of master luthiers in precisely the same manner as the famous German and French workshops made them a century ago.
Our German instruments are constructed in the traditional cottage industry style, with specialists collaborating to create instruments in the manner of the Mittenwald and Klingenthal workshops of the 17th, 18th, and 19th centuries. Final adjustments, graduations, and finishing are completed in our USA workshops.
Bows provided by Eastman Strings are made by hand in small master workshops using traditional Permnambuco and Brazilwood sticks and ebony frogs with authentic nickel, silver, and mother-of-pearl fittings. In addition, Our K.Holtz and Cadenza bows employ modern materials to achieve age-old standards of weight, strength, and suppleness. Eastman Strings donates a percentage of the proceeds from ALL bow sales to the important conservation efforts of the International Pernabuco Conservation Initiative.
Each item Eastman Strings makes and sells has its own story to tell, yet all share one important aspect: they are created with integrity by people who care about your music making.
Eastman Strings, violin, viola, cello, bass, bow, maker, handcrafted, quality, instruments, Chinese, German, Eastern European
Category:
Tony Vines Guitars - Fine Handcrafted Acoustic Guitars.
Tony Vines has been building guitars for nearly 15 years. After many years of research Tony has fine tuned what he believes to be one of the finest handmade guitars available today. All guitars are hand made one at a time using materials that produce the finest aesthetics and tone possible for each individual customer. All parts are made in house to achieve total control and consistency.
After building many different body styles, Tony chooses to produce what he believes to be the most versatile guitar of them all, The Artisan Grand Concert. This is a deep, 15 inch body guitar that produces balanced frequency response for all the strings. The Artisan Grand Concert also utilizes a 25.7 scale length and a high gloss, hand rubbed finish. The low neck profile along with the 25.7 scale length makes these guitars a “dream” to play.
tony, vines, taylor, artisan, carter, fold, martin, olson, acoustic, guitars, kottke, koa, walnut, rosewood, maple, Sitka, Engelmann, mahogany, spruce, cedar, 12-string, wood&steel, catalog, strings, music, gallery, limited, bolt-on, florentine, Fishman, bracing, inlay, purfling, kerfing, bridge, saddle, scallop, tusq, frets, humidity, humidifier, truss rod, UV, ultraviolet, intonation, tone, solid wood, signature, presentation
Tony Vines has been building guitars for nearly 15 years. After many years of research Tony has fine tuned what he believes to be one of the finest handmade guitars available today. All guitars are hand made one at a time using materials that produce the finest aesthetics and tone possible for each individual customer. All parts are made in house to achieve total control and consistency.
After building many different body styles, Tony chooses to produce what he believes to be the most versatile guitar of them all, The Artisan Grand Concert. This is a deep, 15 inch body guitar that produces balanced frequency response for all the strings. The Artisan Grand Concert also utilizes a 25.7 scale length and a high gloss, hand rubbed finish. The low neck profile along with the 25.7 scale length makes these guitars a “dream” to play.
tony, vines, taylor, artisan, carter, fold, martin, olson, acoustic, guitars, kottke, koa, walnut, rosewood, maple, Sitka, Engelmann, mahogany, spruce, cedar, 12-string, wood&steel, catalog, strings, music, gallery, limited, bolt-on, florentine, Fishman, bracing, inlay, purfling, kerfing, bridge, saddle, scallop, tusq, frets, humidity, humidifier, truss rod, UV, ultraviolet, intonation, tone, solid wood, signature, presentation
Category:
Olympic Musical Instruments workshop.
Can I build a hurdy-gurdy?
Before embarking on building a hurdy-gurdy from plans or a kit, here are some questions you need to ask yourself:
Do you have woodworking experience?
Do you have access to woodworking tools?
Do you have metalworking experience?
Do you have access to a metal lathe?
Do you have a great deal of patience?
If you answered "no" to any of these, you should consider trying a kit instead of building from scratch, or finding a local metalworker to help you make and fit the shaft and bearings. For the kit, you will need fewer tools, but you will still need patience ...
Can I build a hurdy-gurdy?
Before embarking on building a hurdy-gurdy from plans or a kit, here are some questions you need to ask yourself:
Do you have woodworking experience?
Do you have access to woodworking tools?
Do you have metalworking experience?
Do you have access to a metal lathe?
Do you have a great deal of patience?
If you answered "no" to any of these, you should consider trying a kit instead of building from scratch, or finding a local metalworker to help you make and fit the shaft and bearings. For the kit, you will need fewer tools, but you will still need patience ...
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