And guess who finally learned to post two pics at once?! It only took four years.
So. The small bridges are on. The string through method lets me keep the footprint down, and therefore also the weight.
I chose tru-oil this time, I tend to avoid shellac every time I work on more than one uke. I don't think I could get equal results on two or more.
But tru-oil is at least as good. The first coat is also very satisfying, as the colour darkens so much.
Then on to the next topic. My workboard for different soleras is almost done, small refinements are made as I go along. I've decided to make a soprano to test it. It's koa, but second grade. And as it is a first for the new method I guess I'll have to keep it.
I made a go-bar deck that is mounted on threaded rods, and you can see the bridge patch being pressed down into the solera's dish, taking care of the domed shape of the soundboard.
I'm excited. But who wouldn't be?
So. The small bridges are on. The string through method lets me keep the footprint down, and therefore also the weight.
I chose tru-oil this time, I tend to avoid shellac every time I work on more than one uke. I don't think I could get equal results on two or more.
But tru-oil is at least as good. The first coat is also very satisfying, as the colour darkens so much.
Then on to the next topic. My workboard for different soleras is almost done, small refinements are made as I go along. I've decided to make a soprano to test it. It's koa, but second grade. And as it is a first for the new method I guess I'll have to keep it.
I made a go-bar deck that is mounted on threaded rods, and you can see the bridge patch being pressed down into the solera's dish, taking care of the domed shape of the soundboard.
I'm excited. But who wouldn't be?
2 comments:
as usual, the ukes look nice but I gotta say that home-built go bar deck is quite the fancy bit of kit in itself.
Those concerts are beautiful. The fingerboard wood is especially nice. Very, very well done.
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