Home Made Resonator Boxes 101, v.2.0 Discussions - Cigar Box Nation2024-03-28T14:48:54Zhttps://www.cigarboxnation.com/group/HMRB101/forum?feed=yes&xn_auth=noJigs & Toolstag:www.cigarboxnation.com,2018-12-12:2592684:Topic:32535202018-12-12T12:30:57.833Zmitch joneshttps://www.cigarboxnation.com/profile/mitchjones
<p>G'day all,</p>
<p>When I first began to get into this cbg thing, I quickly realised that there aren't any cigar boxes available in my part of the world, & they're too expensive on-line. That meant I had to make them. After my fist "proper" build, I realised that I needed to make a few jigs & tools to make it a bit easier. Here's a few pics - my box making jig. Works great, more on this when I use it next.…</p>
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<p>G'day all,</p>
<p>When I first began to get into this cbg thing, I quickly realised that there aren't any cigar boxes available in my part of the world, & they're too expensive on-line. That meant I had to make them. After my fist "proper" build, I realised that I needed to make a few jigs & tools to make it a bit easier. Here's a few pics - my box making jig. Works great, more on this when I use it next.</p>
<p><a href="https://storage.ning.com/topology/rest/1.0/file/get/337390650?profile=original" target="_blank" rel="noopener"><br/> <img class="align-center" src="https://storage.ning.com/topology/rest/1.0/file/get/337390650?profile=original"/></a></p>
<p>I made a sanding wheel with Velcro pad & table for my bench grinder.</p>
<p><a href="https://storage.ning.com/topology/rest/1.0/file/get/337394948?profile=original" target="_blank" rel="noopener"><br/> <img class="align-center" src="https://storage.ning.com/topology/rest/1.0/file/get/337394948?profile=original"/></a></p>
<p>A fret slot cutting jig - perfect 90 degree slots every time.</p>
<p><a href="https://storage.ning.com/topology/rest/1.0/file/get/337398342?profile=original" target="_blank" rel="noopener"><img class="align-center" src="https://storage.ning.com/topology/rest/1.0/file/get/337398342?profile=original"/></a></p>
<p>Slot jig with neck in it. Thin slot for fret saw, thick slot for regular saw.</p>
<p><a href="https://storage.ning.com/topology/rest/1.0/file/get/337583080?profile=original" target="_blank" rel="noopener"><img class="align-center" src="https://storage.ning.com/topology/rest/1.0/file/get/337583080?profile=original"/></a></p>
<p>Circular saw mounted underneath a saw horse = table saw.</p>
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<p><a href="https://storage.ning.com/topology/rest/1.0/file/get/337487738?profile=original" target="_blank" rel="noopener"><img class="align-center" src="https://storage.ning.com/topology/rest/1.0/file/get/337487738?profile=original"/></a></p>
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<p>underneath the saw horse.</p>
<p><a href="https://storage.ning.com/topology/rest/1.0/file/get/337491022?profile=original" target="_blank" rel="noopener"><img class="align-center" src="https://storage.ning.com/topology/rest/1.0/file/get/337491022?profile=original"/></a></p>
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<p>Inside one of my boxes.</p>
<p><a href="https://storage.ning.com/topology/rest/1.0/file/get/337502447?profile=original" target="_blank" rel="noopener"><img class="align-center" src="https://storage.ning.com/topology/rest/1.0/file/get/337502447?profile=original"/></a></p>
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<p>My first "proper" build. Sounds good too!</p>
<p><a href="https://storage.ning.com/topology/rest/1.0/file/get/337540964?profile=original" target="_blank" rel="noopener"><img class="align-center" src="https://storage.ning.com/topology/rest/1.0/file/get/337540964?profile=original"/></a></p>
<p>I use these things all the time on cbg builds, makes things much easier!</p> my first two guitars made this yeartag:www.cigarboxnation.com,2017-03-14:2592684:Topic:28223302017-03-14T20:07:41.474ZRon Lutzhttps://www.cigarboxnation.com/profile/RonLutz
<p>My very first cbg build is the neck on top instrument made with walnut top, quarter-sawn sycamore sides, cherry back and red oak neck. I did have a couple of small revisions after this photo was made, I added a walnut fretboard and put a veneer on one side where I marked the side markers incorrectly. Part of learning.</p>
<p>The second guitar has maple neck, padauk top, qs sycamore sides, and cherry back. The box opens so that I can add a piezo pickup later on.</p>
<p>Both guitars will…</p>
<p>My very first cbg build is the neck on top instrument made with walnut top, quarter-sawn sycamore sides, cherry back and red oak neck. I did have a couple of small revisions after this photo was made, I added a walnut fretboard and put a veneer on one side where I marked the side markers incorrectly. Part of learning.</p>
<p>The second guitar has maple neck, padauk top, qs sycamore sides, and cherry back. The box opens so that I can add a piezo pickup later on.</p>
<p>Both guitars will remain fretless. Well, at least for now.</p>
<p>The banjo is one that I made 40 years ago. It was quite a challenge but am very pleased with it for being my first instrument ever.</p> Homemade Box Clamptag:www.cigarboxnation.com,2015-03-10:2592684:Topic:22549912015-03-10T18:51:59.337ZMontereyhttps://www.cigarboxnation.com/profile/Monteray
I made a box clamp out of 1" x 1.5" Spruce I ripped from a 2" x 4" on the tablesaw.<br />
The back piece is the length of the box. The 2 sides are 0.5" shorter than the sides of the box, plus 1" for the width of the back piece. The front piece is 4" longer than the box.<br />
I pre-drilled all the pieces, and screwed the back and sides down to the bench with 3" screws, squaring as I went.<br />
I also pre-drilled the front piece and used 3" screws to screw the front to the sides. As they are 0.5" shorter than…
I made a box clamp out of 1" x 1.5" Spruce I ripped from a 2" x 4" on the tablesaw.<br />
The back piece is the length of the box. The 2 sides are 0.5" shorter than the sides of the box, plus 1" for the width of the back piece. The front piece is 4" longer than the box.<br />
I pre-drilled all the pieces, and screwed the back and sides down to the bench with 3" screws, squaring as I went.<br />
I also pre-drilled the front piece and used 3" screws to screw the front to the sides. As they are 0.5" shorter than the sides of the box, tightening the screws clamps the box together.<br />
I also staple-gunned wax paper from an old cereal bag inside the box clamp so the glue doesn't stick to it!<br />
It worked flawlessly, love how it doesn't move around...<br />
Think I'll leave it screwed to the bench for when I glue the soundboard and back on. How I made the box for Reuben's birthday guitartag:www.cigarboxnation.com,2014-07-19:2592684:Topic:20557192014-07-19T10:24:48.302Zsasquatchhttps://www.cigarboxnation.com/profile/sasquatch
Let me start by saying that I don't consider myself an expert in this subject, but I have made two very successful resonator boxes with simplest of tools and cheapest of materials.<br />
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This particular box is made from 6mm ply for the sides, 3mm ply for the top and back and 10mm quarter radius pine beading. Construction is very simple.<br />
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1. Ply for sides is cut to desired dimensions minus the dimensions of the beading which will be at all intersection to give the box rounded edges.<br />
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2. Four pieces…
Let me start by saying that I don't consider myself an expert in this subject, but I have made two very successful resonator boxes with simplest of tools and cheapest of materials.<br />
<br />
This particular box is made from 6mm ply for the sides, 3mm ply for the top and back and 10mm quarter radius pine beading. Construction is very simple.<br />
<br />
1. Ply for sides is cut to desired dimensions minus the dimensions of the beading which will be at all intersection to give the box rounded edges.<br />
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2. Four pieces of beading are then cut to the depth of the side pieces and then glued to the two longest sides. These are held in places with masking tape. You can get a really good tight fit using tape and holds everything firmly in place.<br />
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When dried glue together all four sides, again using masking tape to clamp it all nice and tight.<br />
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The great thing about using quarter radius beading is that it's easy to make things square.<br />
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3. More beading is added to the inside corners of the box and along the top and back inside edges. These edge pieces will eventually be what the top and back are glued to. Corner pieces act as bracing and give the box rigidity.<br />
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4. The outside edges of the top and back are formed by adding mitered beading to the edges of the ply sides. Everything is glued in places and again, held tight with tape.<br />
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5. The top and back are cut to the internal dimension of the last pieces of beading added, try will sit along the top of the beading added to on the inside of the box. I actually cut four pieces the same size, two of which have their middle removed leaving a 5mm "frame" the same size as the front and back, thread were then glued to front and back pieces. This last staged ensured top and back Sat flush with tops of the sides.<br />
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6. Sound hole was then cut in the top with a hole cutter in a drill press.<br />
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7. I added hardwood bracing and a bridge support to the inside of the top and ply bracing to the back. Whether this was necessary, I'm not sure, but as this is a non neck design I decided it may be prudent.<br />
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8. Top and back were then glued in place, this time with clamps and cauls just to stop any unwanted bowing. The top and back are a nice tight fit.<br />
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I'll add progress shots in further comments Measuring wood ( and/or box) resonances - cheaplytag:www.cigarboxnation.com,2014-05-19:2592684:Topic:19993472014-05-19T16:51:25.819ZDarren Addyhttps://www.cigarboxnation.com/profile/DarrenAddy
<p>I'll start off by saying that this may not be everyone's "cup of tea" and that some people might consider this "overthinking". To that I will simply say that one person's overthinking is another person's "understanding". </p>
<p>Let's start with something we can (probably) all mostly agree with: Different boxes (CBs or built boxes) have different sound qualities based upon: the type of wood, the thickness of the wood, joint construction, size, proportion (including depth), etc. (feel free to…</p>
<p>I'll start off by saying that this may not be everyone's "cup of tea" and that some people might consider this "overthinking". To that I will simply say that one person's overthinking is another person's "understanding". </p>
<p>Let's start with something we can (probably) all mostly agree with: Different boxes (CBs or built boxes) have different sound qualities based upon: the type of wood, the thickness of the wood, joint construction, size, proportion (including depth), etc. (feel free to add more considerations).</p>
<p>For building our own boxes, we have control over every one of those aspects. <strong><span style="color: #993366;">Wouldn't it be cool to test the individual wood components going into our boxes and then the assembled boxes to see how each choice changes the resonance?</span></strong><span style="color: #993366;"> </span><span style="color: #993366;"><span style="color: #000000;">If your answer is "no" then move along. If your answer is "maybe", then read on.</span></span></p>
<p><span style="color: #993366;"><span style="color: #000000;">This is not a tutorial. It is a set of links us to consider and discuss in this thread. I'm going to cross-post this on the Advanced Techniques board, but I would like to see the discussion take place here, if possible (we'll see how it goes, organically).</span></span></p>
<p>This began for me with an investigation into how the various components affect the acoustic properties of a guitar (and then how these might apply to CBGs). Invariably, the question of solid wood vs plywood will come up (or "laminates"). For example, let's say I have a cigar box that has a 1/4" thick solid wood lid and a 1/8" plywood bottom. What sound qualities will I get using one for the soundboard over the other? Another (related) question is: <a href="http://www.cigarboxnation.com/group/superclass/forum/topics/testing-a-box-for-bridge" target="_blank">Where do I place the bridge</a> for the maximum resonance for this particular box/soundboard?</p>
<p>Exercising my Google-Fu, I found <a href="http://www.pantheonguitars.com/tonewoods.htm" target="_blank">this interesting article on tonewoods</a> and</p>
<p><a href="http://www.guitarnation.com/articles/calkin.htm" target="_blank">The Heretics Guide to Alternative Lutherie Woods, by John Calkin</a></p>
<p>It was in the aforementioned "where do I place the bridge" thread that someone mentioned <span> "The Art of Tap Tuning: How to Build Great Sound into Instruments" by Roger Simonoff. The "Tap Tuning FAQ" is here: <a href="http://siminoff.net/tap-tuning-faq/" target="_blank">http://siminoff.net/tap-tuning-faq/</a></span></p>
<p><span>For a video introduction to what is possible on the subject, I suggest Mr. Simonoff's "Intro" video on YouTube:<br/> <br/>
</span></p>
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<p><span>It was the comment below that video that got me <strong>next</strong>. The commenter suggested that Simonoff's approach was too complicated and linked to this PDF entitled: <span>"What you can find out by hitting things, by Don Noon, a retired NASA engineer." (<a href="http://www.maestronet.com/forum/index.php?/user/25192-don-noon/" target="_blank">Don Noon's bio here</a>.) <br/> <br/>
</span> <a rel="nofollow" target="_blank" href="http://jpschmidtviolins.com/What_You_Can_Find_Out_By_Hitting_Things.pdf" class="ot-anchor aaTEdf">http://jpschmidtviolins.com/What_You_Can_Find_Out_By_Hitting_Things.pdf</a></span></p>
<p><span><em><strong>The beauty of THIS approach is that all you need is the freeware audio editor program Audacity and a computer/laptop and a microphone</strong></em>. (I wonder if one could test piezos or other pickups in a similar fashion).</span></p>
<p>I think that someone who builds a ton of CBGs (and pays attention) comes to understand a lot of this just through experimentation. But I think that this testing method might help someone "get there" a lot sooner by narrowing down what works (better) than other approaches - for the particular sound that they are going for. In particular, figuring out what pattern on the graph (or maybe the total length of the graph, or the amplitude of certain points on the graph) correspond to the low end, high end and midrange, etc.</p>
<p>I might equate this to the different ways that homebrewers make beer. I knew one guy who loved to make up his own "recipes" (by varying ratios of different grains, and throwing in this or that and experiementing with different hops, etc.) But he never wrote anything down. So if he got something particularly good, his chances of replicating it (ever again) were somewhat reduced. This is sort of the point of recipes. Keeping track of what materials we use, in what proportions, and what thicknesses, etc. seems to me to be similar. Being able to graph the sound qualities of different designs seems to me to be something that might be helpful in replicating, or fine tuning the direction of our successful builds (or experiments)</p>
<p>Does this interest anyone besides me?</p> deltaresonatorcones.uktag:www.cigarboxnation.com,2014-04-28:2592684:Topic:19786432014-04-28T13:44:38.998Zmartin bakerhttps://www.cigarboxnation.com/profile/martinbaker
<p>Hi out there, does anyone know what has happened to Colin Oldham from delta resonator cones UK. I ordered a cone & cover plate from him in January 2014, payed via Paypal , I had a mail to say he had been in hospital, then nothing, by then it was too late for PP to open a case. So if anyone knows something please let me know, thanks, Martin.</p>
<p>Hi out there, does anyone know what has happened to Colin Oldham from delta resonator cones UK. I ordered a cone & cover plate from him in January 2014, payed via Paypal , I had a mail to say he had been in hospital, then nothing, by then it was too late for PP to open a case. So if anyone knows something please let me know, thanks, Martin.</p> Notes on Making Sound Boxes for Metal Resonator CBGstag:www.cigarboxnation.com,2014-04-08:2592684:Topic:19534942014-04-08T09:51:33.490ZRand Moorehttps://www.cigarboxnation.com/profile/RandMoore
<p>Hi All...</p>
<p>For a long time I have wanted to build a resonator based string instrument, but I've put it off for a long time because of a poor success rate on prototype builds. I had lots of excuses. Chief among them was the difficulty of cutting an accurate 6" diameter hole in the sound board to accept the tin can resonator where the rim of the can (used to hold the resonator in place) is just 1mm or so wide. Even when I was successful at mounting it, the ugly cut meant there were…</p>
<p>Hi All...</p>
<p>For a long time I have wanted to build a resonator based string instrument, but I've put it off for a long time because of a poor success rate on prototype builds. I had lots of excuses. Chief among them was the difficulty of cutting an accurate 6" diameter hole in the sound board to accept the tin can resonator where the rim of the can (used to hold the resonator in place) is just 1mm or so wide. Even when I was successful at mounting it, the ugly cut meant there were slight gaps you could see light through. But, that was before I discovered the my ideal resonator -- the round lid of an Eu Long brand cookie tin. </p>
<p><a width="737" height="552" target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/241328879?profile=RESIZE_1024x1024"><img class="align-left" src="http://storage.ning.com/topology/rest/1.0/file/get/241328879?profile=originalheight=" width="396"/></a></p>
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<p>In this photo, you can see that this cookie tin actually has two lids. It's the round inner lid that makes such a nice resonator because it has a 5mm wide lip, wide enough to hide the ugliness of my hand-cut resonator holes.</p>
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<p>[I suppose other parts of this cookie tin could also be used to make good resonators, but cutting them and mounting them in the sound box is another adventure I haven't taken yet.]</p>
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<p>In the next photo we can see how much wider the rim (lip) of the Eu Long lid is compared to your typical cut-down can resonator.</p>
<p><a width="139" height="104" target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/241321188?profile=RESIZE_180x180"><img width="750" class="align-left" src="http://storage.ning.com/topology/rest/1.0/file/get/241321188?profile=RESIZE_1024x1024" width="750"/></a></p>
<p>Now, I realize most of you won't be able to find any Eu Long cookie tins, but the idea you want to keep in mind when looking for a good resonator is a wide rim (lip) to make mounting them easier and cleaner looking. No doubt some of you have built resonator CBGs using other items and other mounting techniques, something that I hope you will share in this discussion. As I develop new methods I also will add them here.</p>
<p>The following photo shows the above cut down cookie tin mounted in a sound box. You can see it's not too pretty even if you can imagine the sound box painted black.</p>
<p><a width="737" height="552" target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/241320619?profile=RESIZE_1024x1024"><img width="737" height="552" class="align-left" src="http://storage.ning.com/topology/rest/1.0/file/get/241320619?profile=RESIZE_1024x1024" height="261" width="396"/></a></p>
<p>You can see the gap between the cookie tin resonator and the soundboard (see the two white areas).</p>
<p>If the top rim (lip) of the tin were 5 times as wide, then it would cover up the in- accuracies of my hand-cut resonator hole.</p>
<p>The Eu Long lid is 5 times as wide, and so would cover these gaps up.</p>
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<p>Of course, if you have a big budget and are handy at making jigs, you could probably buy a jig-saw or a band saw and cut out a pretty accurate hole in your sound board. But, that's beyond the scope of this article.</p>
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<p><strong>Cutting the Resonator Hole</strong></p>
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<p>(Section not written yet)</p>
<p>I need photos of this process...</p>
<p>Will build another box, photograph the process and add that material here.</p>
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<p><strong>Stiffening the Soundboard</strong></p>
<p>Another consideration you have to make when building the sound box for a resonator CBG is how stiff the sound board is. The idea (as I have been told, but have not independently verified) is that if you use a very thin sound board (as you may be in the habit of doing for acoustic instruments), then you may experience a problem where the flexible soundboard steals too much of the vibrational energy from the resonator "cone" and this reduces the output of the metal resonator. So, I was told that I should use thicker wood for the sound board to prevent this from happening.</p>
<p>But, using a thicker board for a sound board makes cutting the hole for the resonator that much harder to do with hand tools. So, instead I decided to simply re-enforce the bottom side of my sound boards. In the following photo, you can see how I've re-enforce the sound board by gluing on additional wood.</p>
<p><a width="750" target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/306264314?profile=RESIZE_1024x1024"><img width="750" class="align-left" src="http://storage.ning.com/topology/rest/1.0/file/get/306264314?profile=RESIZE_1024x1024"/></a></p>
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<p>The additional bracing was made using 5mm thick sapeli trim wood. The pieces were hand cut to fit and glued in one at a time. On my second "Reso-Box" I cut out 4 triangles to fill in the corner areas a bit better. With this additional bracing, the wood around the resonator is effectively 7mm thick (including the 2mm thick sound board).</p>
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<p><strong>Other Advice?</strong></p>
<p>Building the sound box is otherwise identical to building a sound box for an acoustic box guitar. Cut the wood for the sides of your box, glue them together to form your box frame, using corner posts to strengthen the corner joints of your box frame. Then, rough cut the sound board, cut the two sound holes and then glue the sound board to the box frame. When dry, file and sand off the excess material around the sides of the sound board. Next, add any additional internal support you will need to secure the neck in place and perhaps to backup the tail-piece. Once the internal bracing is complete, connect your neck to the sound box and secure it in place (glue, wood screws, whatever), Then rough cut your back board and glue it on to the back side of your box frame. Once the back board is dry, use a file and sand paper to remove the excess material. Then sand the box with finer grain sand paper to get the box as smooth as you want, then finish the box the way you like, typically with something like an oil based stain and polyurethane, or whatever other finish you want to use.</p>
<p>With my brass/gold colored Eu Long cookie tin lid, instead of giving the box my standard wood grain treatment, I spray painted it black. I don't really like spray painting because it smells up the place (I do it outside, but still it's not great for the air - it's already polluted enough). I think in the future I will try to mix black poster paint with the clear water based "poly-urethane" finish I use to paint-on a black finish that can be absorbed into the wood for a strong, water resistant finish.</p>
<p>So, here's a photo of my first finished resonator instrument... It's a 4-String "Reso-Box Banjo".</p>
<p><a width="737" height="552" target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/241315936?profile=RESIZE_1024x1024"><img width="737" height="552" class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/241315936?profile=RESIZE_1024x1024"/></a></p>
<p>The discussion of how I built the banjo-style neck is a discussion I've yet to write; but when I do, I will post it in the banjo discussion group called "Banjo Players Unite!" as that's where I post most my banjo related articles.</p>
<p>I have completed 2 more such "Reso-Box" instruments, which I'll document when I have time to take and upload the photos and write some more. Both are 3-String diatonically fretted stick dulcimers (pretty much my standard instrument), but one is built with much larger (and thicker) sound box.</p>
<p>So, stay tuned...</p>
<p>-Rand.</p> Where do people find solid wood stock for soundboards?tag:www.cigarboxnation.com,2014-02-02:2592684:Topic:18810972014-02-02T03:00:46.625ZBarsymes Cratchneehttps://www.cigarboxnation.com/profile/ErikLindseth
<p>So I've seen a number of builds on the site with solid wood tops such as spruce and was wondering where people get that kind of lumber. Buying thick stock, joining and planing? Online site with soundboard material? Just curious of people's sound board material preferences and where they acquire their materials. Thanks for the help. Currently interested in building a box with a solid spruce top and I live in Colorado.</p>
<p>So I've seen a number of builds on the site with solid wood tops such as spruce and was wondering where people get that kind of lumber. Buying thick stock, joining and planing? Online site with soundboard material? Just curious of people's sound board material preferences and where they acquire their materials. Thanks for the help. Currently interested in building a box with a solid spruce top and I live in Colorado.</p> Building your own box that opens? Anyone done this?tag:www.cigarboxnation.com,2013-12-30:2592684:Topic:18399262013-12-30T03:10:57.740ZBarsymes Cratchneehttps://www.cigarboxnation.com/profile/ErikLindseth
<p>Was thinking about building my own box and one of the things I like about some of the cigar box builds I've seen is the ability to open the box when the strings are off. Seems silly, but a nice option if you want to swap necks (screwed, not glued), take out or change pups etc...Would love to see pics if anyone has opted for this. Seems like most boxes on here are built for acoustics so maybe don't need or want to do this.</p>
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<p>Thanx</p>
<p>Was thinking about building my own box and one of the things I like about some of the cigar box builds I've seen is the ability to open the box when the strings are off. Seems silly, but a nice option if you want to swap necks (screwed, not glued), take out or change pups etc...Would love to see pics if anyone has opted for this. Seems like most boxes on here are built for acoustics so maybe don't need or want to do this.</p>
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<p>Thanx</p> Alt. box materialtag:www.cigarboxnation.com,2013-12-05:2592684:Topic:18126112013-12-05T03:44:05.737ZBert the Welderhttps://www.cigarboxnation.com/profile/BerttheWelder
<p>Was reading a post here discussing paper mache(?) as a body material. Occurred to me that maybe cloth or paper Micarta might be something to play with. For how it's made, look up diy micarta on youtube. Used for knife handles. One could just make it in bigger, thinner sheets. Would require a good, solid press as it needs a lot of pressure to force all the air out of the material. My coffee-shop engineering brain thinks it would make a nice sound board as it would be stiff and strong for a…</p>
<p>Was reading a post here discussing paper mache(?) as a body material. Occurred to me that maybe cloth or paper Micarta might be something to play with. For how it's made, look up diy micarta on youtube. Used for knife handles. One could just make it in bigger, thinner sheets. Would require a good, solid press as it needs a lot of pressure to force all the air out of the material. My coffee-shop engineering brain thinks it would make a nice sound board as it would be stiff and strong for a comparable thinnest of wood.</p>
<p>Just thinking out loud...... :) </p>