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Thanks Ethan. Watched this the other week. Marshall seems like such a great dude. And his old man too. Shame about this Rob doofus! 😄 nah he's ok.
I really enjoyed watching it. Interesting to see some of their whacky jigs for various procedures. I'm defo no expert but some of the jigs/methods seem slightly like over egging it. That neck carving router thing??? Wtf!? 😂
I loved both the videos. The Bruné have a very organised shop and well thought jigs and methods. Many other people do the job in the old way. At the end of the day the result is what matters.
I found it interesting how different people care about different things. I thought that grain filler made the wood look dull, even if the finish was glossy (is that possible?). I would never want the face of a fingerboard or the frets to be shiny. Just a matter of taste.
Yeah I didnt like the look of the wood filler. Maybe the color blended in better once the finish went on. ..............
Strangely enough the filler used for Miguel Rodriguez guitar necks was white pumice, then sanded smooth, then had potassium dicromate added to bring the color to a rich dark brown/red, then french polished to finish.
And just 'eye balled' placing the fretboard and centering the bridge lol.
Of the various guitar makers' shops I've visited, I probably spent the most time hanging around in Juan Pimentel's in Mexico City. He did several things by "eye balling," just as accurately as if he had measured with a ruler.
That's what Roy Courtnall recommends in his book "Making Master Guitars," so it must be right.
As I said earlier, I applaud Roy for publishing his book but I found some vague things on the Santos design and corrected the design for better operation, namely the bridge position. Could be the original was this way with the bridge off set, and it may have been due to the neck being off set; out of line.
I corrected the style for Timo Phillips in Chicago and he told me it sounded and played much better.