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PostPosted: Fri Nov 10, 2017 4:20 pm 
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Cocobolo
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Is a 16 degree headstock angle too severe?

Now for the story
I was at my dads shop today (mine now) looking for some things and uncovered some really cool poplar boards he had cut from behind the acreage a few years back super colorful brown / Black / green / White...
I was going to saw it down and make some head plates. Thought it would be cool to have that connection w part of the instrument.
Upon sawingnit up and running it through the drum sander the white wood is just eaten up w holes / termite tunnels.
Bummed :/
I MAY have enough width left w the dark stuff but it will be close .
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PostPosted: Fri Nov 10, 2017 4:34 pm 
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A lot of headstocks have a 15 degree angle. I don't imagine that one more degree would matter structurally. Are you thinking about a solid headstock or a slotted headstock?

Are the holes that are visible in the photos the extent of it, or are there a bunch of tiny ones too? If the connection to the wood's history is important, you can accept the holes and make them a feature as is done with Ambrosia maple where the beetle holes are filled, either to match the wood color or to contrast with it.


Last edited by J De Rocher on Fri Nov 10, 2017 4:36 pm, edited 1 time in total.

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PostPosted: Fri Nov 10, 2017 4:35 pm 
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Cocobolo
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Well under the holes are tunnels :/


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PostPosted: Fri Nov 10, 2017 4:47 pm 
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Koa
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1 - most Gibson style headstocks are 15 or 16 degrees
2 - you could possibly fill the holes with epoxy as is sometimes done with splated wood
3 - you could easily book match two pieces of the dark wood to make a nice head plate.


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PostPosted: Fri Nov 10, 2017 10:07 pm 
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Cocobolo
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Freeman wrote:
1 - most Gibson style headstocks are 15 or 16 degrees
2 - you could possibly fill the holes with epoxy as is sometimes done with splated wood
3 - you could easily book match two pieces of the dark wood to make a nice head plate.


Exactly what I did;)
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Pardon the nasty glue line. Not scraped clean yet


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PostPosted: Sat Nov 11, 2017 12:49 am 
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Nice!

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PostPosted: Sat Nov 11, 2017 9:39 am 
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Cocobolo
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Joe Beaver wrote:
Nice!

Thanks:) here it is all finished this morning.
The seam won’t be in the middle so I don’t believe it will be noticeable
.
B
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PostPosted: Sat Nov 11, 2017 11:36 am 
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Koa
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That's really nice looking wood. Even though you got a good clean joint, the joint jumps out to my eye due to the interruption of the grain and color. My eye was immediately drawn to it.


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PostPosted: Sat Nov 11, 2017 11:49 am 
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Cocobolo
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Barry Daniels wrote:
That's really nice looking wood. Even though you got a good clean joint, the joint jumps out to my eye due to the interruption of the grain and color. My eye was immediately drawn to it.

It isn’t invisible.
If I can’t hide it well I won’t use it :)


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PostPosted: Sat Nov 11, 2017 11:51 am 
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Cocobolo
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Not seeing the offset helps a little. But still visible


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PostPosted: Sat Nov 11, 2017 12:27 pm 
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Koa
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Yes. You could probably draw the eye away from the joint or even cover it up with some inlay. Or joint in a wedge shaped piece with a highly contrasting color to make the joint look purposeful.


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PostPosted: Sat Nov 11, 2017 12:43 pm 
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That’s a pretty piece of poplar. If you haven’t seen any pictures of “sun tanned” polar, google it. Apparently, sun exposure changes the colors a bit but in a really nice way.

I’ve never done it myself so you would want to experiment with scrap to see if you like it better or not.

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PostPosted: Sat Nov 11, 2017 5:16 pm 
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Koa
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SnowManSnow wrote:
Barry Daniels wrote:
That's really nice looking wood. Even though you got a good clean joint, the joint jumps out to my eye due to the interruption of the grain and color. My eye was immediately drawn to it.

It isn’t invisible.
If I can’t hide it well I won’t use it :)


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My suggestion was to take two pieces and flip one over to book match them. The glue seam is the center line down the headstock. Not a very good picture (finishing going on) but this came from cuttoffs of the top wood and matches it

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