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Missing Info On Drawing

Posted by James C. Anderson on February 21, 2010 at 12:51pm
Your blog has an entry from Dec. 9, 2009 headed "Laminated Neck - Simple." On one of the two drawings shown, it appears that a word is cut off on the upper left corner. The text reads "degree cut," but I suspect that it should say "xx degree cut." Can you tell me what the missing info is.

I also have another question about gluing the scarf cut illustrated in this drawing. When I use Titebond III, the brand of glue I have at the moment, the two parts of the join slide against one another when I apply clamping pressure and, although I continuously realign the pieces, there's always enough movement that the joint is ruined. Any idea what I'm doing wrong?

I built a dulcimer about 20 years ago and had the same problem-drove me mad. I haven't use hide glues since my one brief introduction to them in high school wood shop in the 1960's. I don't remember having any problems of this kind, just solid, clean joints which were almost invisible. Would hide glues solve my problem?
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#7 -- 'Gutshaker'

Posted by Jess on February 19, 2010 at 3:28pm
I just finished the 'Gutshaker', a bass created from an old silverware box I found at a secondhand store, which is adorned with my handpainted version of Ed Roth's Rat Fink and oldskool pinstriping on the back, my second most favorite hobby after CBGs. To compliment the sound holes and bridge, I helped myself to one of my wife's silver pie/cake servers for a tailstock (I hope she doesn't get too upset). This thing really sounds good, and it is a gutshaker, when amped.

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#6 -- 'Playboy'

Posted by Jess on February 19, 2010 at 3:15pm

Last week I finished the 'Playboy', a straightforward 3-string CBG with a few embellishments . . . bunny cutouts for soundholes and applications to the headstock and to enclose the output jack. An inverted picture hanger for a tailstock. But, the most fun was the photo collage inside the box.

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Doubling up on clomid 50mg

Posted by Percival on February 16, 2010 at 9:11pm

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About our upcoming album: FLOOD

Posted by Moreland & Arbuckle on February 10, 2010 at 1:41pm
Music has the power to transport us: to carry us to mysterious places and explore new worlds.

On Flood,Moreland & Arbuckle's debut release on Telarc International, adivision of Concord Music Group, the rootsy, hard-driving group fromKansas takes music itself to places it's never been. Featuring mostlyoriginal tunes, Flood presents a dynamic mix of thirteenacoustic and electric songs, each performed with all the subtlety of apassing freight train.

Ever since guitarist Aaron Moreland firstmet singer/harpist Dustin Arbuckle at an open mic jam in Wichita in2001, Moreland & Arbuckle have established themselves as a force tobe reckoned with. Along with Brad Horner on drums, the group featuresMoreland playing everything from National steel to a cigar box guitar,and Arbuckle singing and playing harmonica.

Moreland &Arbuckle are traditionalists and innovators at the same time, mergingold school Chicago and Delta blues with garage rock sensibilities.While Arbuckle was mostly influenced by the Mississippi blues,traditional country music and bluegrass, Moreland grew up listening toeveryone from Led Zeppelin and Black Sabbath to Charlie Patton andMuddy Waters.

Unconfined by convention, Moreland attributesthe group's growing popularity to their unique sound andinstrumentation. He says, "Going three-piece, we have a greatchemistry."

Guitar Edge magazine wrote, "The pride of Kansasplays Hill Country stomps like his life depends on it." The EdmontonJournal calls Moreland & Arbuckle "one of the more inspiring youngacts putting a new shine on music rooted in a century-old tradition."

Moreland& Arbuckle's previous release, 1861, won the Indie Acoustic Project2008 CD of the Year Award. The band recently performed for U.S. troopsin Iraq and Kuwait. "I didn't imagine the trip to Iraq would be sogrueling," Arbuckle says. "But it was an amazing experience to shareour music with the soldiers. It really did exemplify the powerfulspirituality and healing element that music possesses."

"Beinga musician is the ultimate job," says Moreland. "What I realize is thatmusic has always been one of the most important things in my life. Intough times, it was the one thing I could always turn to."

"WhenI was in my teen years, I never had any direction," Arbuckle says. "Butmusic was a central feature in my life. It's powerful and compelling,and it's given me purpose."

Moreland & Arbuckle haverecently completed tour dates with Jonny Lang, Buddy Guy, Robert Cray,Kenny Wayne Shepherd and Johnny Winter.
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Things are looking up

Posted by Larry McPheeters on February 9, 2010 at 11:52am

It's been a while since I've been here, I've been busy with my new business. Ted I'll go to the new website and log in. Hey Guy's I just got an email from a music store in Placerville, The owner wants some of my guitars in the store.what a treat!. The State sent an email and asked me to come in and give them another application to teach. Looks like things are looking up.

Larry

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We just introduce the first short scale travel CBG made in Japan !!

Posted by FUMIKAZU TAJIKA on February 7, 2010 at 11:18am
Hi,
Over two years. It's a long way to introduce our first CBG project. We are the team. 3 of us create the CBG,play the CBG,and spread the information about the CBG over here & there. Please enjoy the sound of our little revolution.
Best Regards,
Tj

https://www.youtube.com/watch?v=cwWxCghk7CI
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Thanks!

Posted by Jess on February 6, 2010 at 12:31am
Thanks to everyone for the encouragement and enthusiastic support for the boxes I've built. I really don't know what I'm doing, but I'm learning from all of you, and it seems like each guitar is a little better than the one before. I've had a lot of hobbies over the years, but without doubt this CBG thing is my favorite. And, thanks to Shane for starting the 'Nation'. I wouldn't have gotten into this without the lead provided by this site.
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More Photos of 'TotalRojo' Guitars

Posted by Jess on February 4, 2010 at 3:29pm
I've been so busy working on my current 'TotalRojo' guitar that I have not uploaded photos of creations #3; 4; or 5.The name for my guitars (TotalRojo) originated from a trip my wife and I took to Cancun. We were on the beach and I decided to go to the cabana for towels. The kid asked my name and when I told him it was Allred, he said, "Oh, Mr. Todo Rojo." We had a good laugh, and from then on, I was known to the waiters by that version of my name. For various reasons and uses, I bastardized the spelling into a Spanglish version, thus TotalRojo is my moniker.So, with that explained, I'll share some photos of the newest versions #3, 4, and 5 of TotalRojo guitars.#3 is a pretty straight froward CBG created from a nice Liga Maestra Robusto box. I decided to add four sound holes, two on either side of the neck, which has produced a very mellow but vibrant sound. Like all my CBGs, I used a Peizo transducer for sound amplification, but this plays well acoustically, too. The neck is red oak, and the fingerboard is natural poplar, which gives nice contrast to the mahogany box. Two of the sound holes are covered with brass drain covers, and the othe two are screen-backed f-holes cut into the lid. The bridge is a simple creation of mahogany base with a small dowel as the string rest. It is hard to see in this photo, but on all my CBGs I inset BBs into the leading edge of the fingerboard at the critical fret locations for markers . . . it's unusual and kind sets my builds apart from others in a small way.#4 is a fun four-string guy. I had an old Hershey's pretzel tin laying around the garage from my hotrodding days, which I used for small parts. I cut a couple slots in the can for the neck and a couple more for sound holes. Laminated the neck and wired it for sound, and voila, a great sounding rig. I didn't like the tinny sound on the first go-round so I reinforced the back of the thin with a thin piece of wood, and added a wood bridge, which mellowed it out. It still has a banjo-sound to it, but not tinny. To add to the fun, I glued a pretzel to the headstock before I varnished the neck, and it has become my TotalRojo Pretzel guitar. The darn thing sound good finger style, but it has a great slide sound as well.#5. What can I say, this is my 'real' fun rig. It's my TotalRojo Redneck. I designed the neck to have a slot for the tuners, with no frets, so that I can play it as a slider. Painted it a bright red, added a tricked out box complete with a dirty old guy on the lid (my wife says it looks like me when I have a beard) checking out a hot babe; a redneck invite on the back; and a 'warning' on the inside. The small screen-backed f-holes provide plenty of sound and this thing is a hoot to play, and it gets lots of attention.
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A Big Thank You

Posted by Dianne Woods on February 4, 2010 at 2:13pm
Thank you everyone who helped me with my first build. I couldn't have done it without yall. You took up your time to explain things, took pics, and answered my questions. I can't remember who all helped me. Thank you very much. Thank you for being patient with me. Go to my page and check it out. I named my first build, Sweetheart. Thanks again. Dianne/Georgia
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Neck flex

Posted by Jason Hitesman on January 31, 2010 at 12:58pm
Knowing now that I was just never putting enough tension on the strings I pulled out CBG #1 and just kept cranking until it was tuned. Wow, sounds a LOT better, imagine that!Of course that also put enough bend in the neck that it looks more like a bow than a guitar. Fretting is all but impossible, but with a slide it seems to really sing now. I may have to go get some low tension strings to try it :D Neck bending on #1 was why I decided to use Oak instead of Poplar on #2, oak being generally the stiffest hardwood I could find easily.Now that I've got a few basic scales and chords figured out - still trying to learn the right hand stuff, considering it's generally my good hand I have a hard time believing how unwilling it is to do what I ask it to when there's a guitar in front of it. But I'm starting to be able to do some basic things that I'm not totally embarrassed to pluck away at around friends who've been drinking. Nothing quite regular or predictable enough to be classified as a song, but at least generally all in the same key and usually not hitting notes/rhythms that make me cringe even if they don't make me want to get up and dance. In other words I can listen to the guitar itself a little without finding someone else to play it for me. A big help.I've also found that my tuner isn't a piece of junk, I just wasn't tuning in the right range. Tuner seems to work pretty well once I learned that. So I used it to check the intonation a bit - not very good at all. By the 12th fret things are almost half a semi-tone off it seems. Oddly enough strings 1 and 3 are sharp while string 2 is flat by almost the same amount. Of course the bridge and nut both being temporary I wasn't too surprised, they're bot sitting a little high on the scale compared to where I plan them on being eventually.But it did better when I did the same test right after it's first tuning. It was just a little bit off that evening when I tested it. I also noticed today that the action is starting to get higher. So I guess that would make sense about throwing off the intonation. I did plan on the neck bending a bit when I built this. In fact I put a few degrees of back angle in intentionally, but I may not have put in enough. I could put a bit more in since nothing is glued together yet.I see a couple different ways I can deal with this on the current CBG, just too many variables for me to pick a method and try it.1) Take the neck off and resand the neck attachments to put more back angle in. Except I don't think it would help much, and I'm not sure how much more bend the neck will develop or if it's at it's limit. I'm not sure this is the best solution - but until I glue things together (if I end up gluing things) it's on the table. I'm thinking it's more of a last ditch hack than a prudent first reaction.2) Glue the fingerboard. Just having it screwed on I don't think it adds as much strength as it would if I glued it. It's not laminated yet, just attached.3) But while the fingerboard is off maybe I can just add a stiffener. I have a router on hand, Except putting something down the middle would prevent my screws from mounting now. Unless I put it deep and covered with a bit of wood. Or put wood in with the grain going the other way as a stiffener. I could try to add a real truss rod...dangerous path here...but a path I want to take eventually since I do think I want to attempt building 4 and 6 strings in the future. With any of these ideas the problem is I already have a bend. Will any of them let me reverse it - or just keep it from getting worse?Or - it could be this is as much flex as it's going to get and I could just lower the height of the bridge a bit to compensate. Except when I lay a straight edge across the fretboard now there's almost 1mm of gap in the middle, maybe a bit more. - originally it was flat. So I think I should do something to correct it. If it is as much flex as the neck is going to take I could reshape the bottom of the fingerboard to compensate.For now I think I'm just going practice playing it and think about possibilities while I wait to see how much more it flexes. It's a lot easier to play with a slide now than it was originally, the action is still very playable and I've got several ideas brewing on how to deal with this if I choose to do so. And I've got plans brewing for how to approach #3 with the lessons I learned on #2....
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Harbor Freight Japanese Flush Cut Saw as a fret saw (plus jig)

Posted by Wes "I'm Baaaaack" Yates on January 31, 2010 at 10:41am
Guys, I have seen so many folks use God knows what to cut fret slots. Hacksaw blades, coping saw blades, knives. Well, if you want to cut them right, you have to use a decent saw. First, let me say that if you use Stewart MacDonald fretwire (or any fretwire that is .024"tang), the BEST tool is their fretsaw. Make no mistake, that is the tool to use. BUT if you are not inclined to buy a $30 saw, try this saw: Japanese Flush Cut Saw from Harbor Freight. No, its not a fret saw and NO its not the StewMac version. But it is the closest thing I have ever seen to the Stew Mac saw. Stew Mac fretwire has a tang that is .024" and this saw is rated at .023". Not exact, but damn close. I even built a jig that might come in handy, plus I added a stop bar to the saw like the StewMac saw.

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Inspiration!

Posted by Jess on January 30, 2010 at 2:51pm
Wow, there's nothing that get's the ol' blood boiling and the body moving like inspiration from a fella's peers.Just this past week I was reading Shane's suggestion that designing and creating a CBG was simply not enough of an accomplishment, and that in order to really enjoy the effort you gotta get out of the workshop and light up the box in front of an audience. It didn't say that talent was an important ingredient . . . just get out there and play!Another commentator suggested that too much of the comment on the Nation was directed toward building, and not enough toward the important side of the hobby, playing! I'm a newbie at this CBG thing, and perhaps the criticism is valid, but I've been able to glean lots of both, design and playing ideas, from my time circling the cyber world of Cigar Box Nation.At any rate, I took the suggestion to heart. I loaded up my Hemingwayand headed for the Mall to entertain folks without thinking a lick about not being able to play worth a darn. For years I've scared my dogs and irritated my family with my six-strings. But, I got to thinking, what to hell, playing three strings has gotta be only half as hard as my Martin D-whatever, and I sing a lot in the shower and hum real loud working on the next box in the workshop, so maybe I can easily get out of the building-only rut and become a 'real' respectable CBG guy.I arrived at the Mall and proceeded to light'er-up. A crowd of young folks, and a few oldtimers as well, gathered around to hear the noise coming out of the little box. It got me all energized and at the same time thinking how I could turn this gig into somethin' bigger and better. So, I tossed the extra cigar box I brought along on the floor, opened it up to attract tips or whatever else someone wanted to reward me with. Maybe a special order or a phone number or three.While I was playin' my little heart out, a tall blonde showed up to cheer me along. There's nothin' like the energy from a gal swaying to the music to get the ol' juices flowing, right guys? Well, everthing was going real good until my wife showed up . . . I forgot she went with me to the Mall . . . and she took one look at the blonde, grabbed me by the ear, scooped up the box of coins, and headed me to the door, still cranking on my Hemingway.That's the story of my first public gig. I only collected 37 cents, but the experience was priceless. Now, I don't have to be embarrassed or feel guilty about only being a builder. I'm a paid pro-fess-ion-al! But, not real comfortable on stage, right yet.I think I'll retreat to my workshop to crank out some pretty nice rigs and leave the public indecency to the big dogs who are more skilled and comfortable with playing in public. Besides my dogs and family need something to howl about.
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