#1
so i googled, and didnt see anything.

does anyone know of a online how to for one of these? i have sorta a interesting project that requires about an 8 inch radius at the nut and then about a 2.5-3 at the 22-24 fret (yes you heard me right, the opposite way around).

i understand how to make the blocks, no problems, i just cant find a good how to on how i should do it, i assume i just do it like a regular compound (however that is) but the other way around as to what radius goes where?


before anyone asks my abilities, ive done fretboards before, and this neck will be fretless.

oh yeah, it's sorta a secret too


any help is appreciated.
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#2
2.5" radius???? thats like a semi-circle.

i would just say get different fretboard sanders

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#3
Quote by SPBY
2.5" radius???? thats like a semi-circle.

i would just say get different fretboard sanders



yes, it is an interesting project like i said.


but i meaning the technique for how to, i didnt know if i just needed to do one part of it in one radius, move up a little bit to do in the next one, and then move up another piece to finish it.
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#5
eh, **** the secrecy, it's pretty much a huge violin with 6 strings in guitar tuning, to be played with a bow.
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Last edited by conor1148 at Jul 26, 2009,
#6
Then there's this band called Slice The Cake...

Bunch of faggots putting random riffs together and calling it "progressive" deathcore.
Stupid name.
Probably picked "for teh lulz"

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#7
well, im meaning a 6 string violin around a 23" scale length that you play in the position of a classical guitar, but with a bow.


if my radii are wrong, what kind of radii do you suggest?

edit- the reason i suggested that radius was because im almost certain i saw one of these before that had a radius like that
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Last edited by conor1148 at Jul 26, 2009,
#8
dude.. wait what?

you lost me.
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#9
ohhh! i get it now.

well... the first paragraphs atleast.


so any suggestions to how i should radius it for my situation?
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#10
The grabbed my interest for some reason.
I decided to model the fretboard surface.

You can have a 8" to 3" fretboard radius with the proper string spacing, so this is pretty much visual proof of what David Collins was talking about.

The only places where this shape is an actual radius are at the two points where I defined it (the red lines) as being 8" and 3".



It may not actually be that hard to make. You'd obviously want the board to be a lot thicker at the body end, because just within the radius (not including the thickness you would use below the radiused area) the thickness increases about 1/4" from end to end.
#11
Quote by conor1148
so i googled, and didnt see anything.

does anyone know of a online how to for one of these? i have sorta a interesting project that requires about an 8 inch radius at the nut and then about a 2.5-3 at the 22-24 fret (yes you heard me right, the opposite way around).

i understand how to make the blocks, no problems, i just cant find a good how to on how i should do it, i assume i just do it like a regular compound (however that is) but the other way around as to what radius goes where?


before anyone asks my abilities, ive done fretboards before, and this neck will be fretless.

oh yeah, it's sorta a secret too


any help is appreciated.
Wow. These numbers are scary. Think of a compound radius neck like a conic section. Usually the width of the neck follows a similar relationship to the change in radius, but that isn't mandatory. However some problems will arise if that relationship is seriously altered.

You've given the spec for the radius at the nut and at the 24th fret (75% of the total length) Extrapolating to the bridge, that puts your radius to about 1.5 inch. The diameter is about 3 inches. It would be physically impossible to have the strings spaced any farther apart than that. And the strings would be arranged basically in a semi-circle. Normal string spacing on a guitar is about 2 inches. So you'll end up with a rather large slice of the possible half-circle.

Methinks this is going to be very odd to fret, especially the higher notes. You're going to be deflecting the strings nearly as much sideways as down.

A 3d model would give you a better understanding of what you'll be up against.
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#12
Yeah, an actual conical section is impossible with those figures - (at least one where the string spacing gets wider toward the bridge, the strings have to fan out in the same direction as the cone and in the same ratio)

The only viable option is a parabolic shape, which is visually represented above.
#13
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#14
Quote by Metalhead_28
Yeah, an actual conical section is impossible with those figures - (at least one where the string spacing gets wider toward the bridge, the strings have to fan out in the same direction as the cone and in the same ratio)

The only viable option is a parabolic shape, which is visually represented above.
I was hoping to find an image on the net to display the concept. Unfortunately, the only ones I could find had the "slice" being made at the wrong angle to the cone:



Imagine instead, that the slice was parallel or nearly parallel to the edge of the cone.

Fairly shallow, and the plane extends beyond the right/rear of the tip.

Then truncate to the proper length.

*wishes he had 3d drawing shiz*
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#15

this pic explains pretty well.
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#16
Quote by David Collins
As I mentioned in the gibberish above, the cone section will not work unless the fingerboard radius changes directly proportional to the string spacing. If it changes faster, slower, or in this case in the opposite direction, then the board can not be a section of a cone sliced at any angle.
I can see why you would think that, David. In the case where the plane that slices the cone is parallel to a line drawn straight down the edge of the cone, this is true.

But I'm pretty sure this is not the case for most compound radius boards. I'm fairly certain the plane is closer to that line at the bottom of the cone than at the apex. The fact that there is a large change in radius and only a minor change in the fretboard width tends to support that conclusion.

If we bring the plane that slices the cone a bit closer yet to the line toward the bottom of the cone, we can have the string spacing narrower at the large radius end.


One thing that hasn't yet been discussed is the relationship of the fret spacing in these examples. I suspect the frets could only follow a straight line perpendicular to the line drawn down the cone, if the plane sliced parallel to the line. Otherwise they would have to form a slight arc with the ends closer to the apex or farther from the apex, depending on the angle of the slice. If not, there would be a slight variation in intonation across the strings.

I'm not 100% certain about that last paragraph, but my gut tells me I'm right. In any case, this is quite a can of worms we've opened here, isn't it?

I
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#17
sorry guys, im away from the house from 7 in the morning till 10 at night for the rest of this week, i didnt realize this would turn to quite a debate, i just wish i was smart enough or i wasnt so mentally wasted to understand it.

could i maybe get sort of a condensed version?

from what im understand, the radius is possible, but it's the frets thats giving problems?


on a side note, i begin my first violin build wednesday!
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