Heat Transfer Vinyl T-Shirts – Without A Vinyl Cutter, Part II

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I recently posted my method for making DIY heat transfer vinyl t-shirts without a craft / vinyl cutter.  I used the process to make an Avatar: The Last Airbender themed t-shirt, then a set of four Fallout themed t-shirts for the entire family.  After that I designed, cut, and ironed several more t-shirts. (You’ll see me refer to ironing the design several times, but each time I ironed the vinyl through a piece of parchment paper, to protect the design from scorching and the iron from being marred by melted plastic)

I learned a few more things along the way and thought I’d share these newb-mistakes and pro-tips.

But first, how about some pictures?!

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  1. Cutting Designs
    1. Just be careful and go slow.
  2. Design Size
    1. I tend to make designs that are no more than about 6″ wide.  This has seemed to be a really good size to show off a cool design, but also fits neatly in the center of an 8.5″x11″ piece of standard printer paper.  You could make something a lot larger, but for all of my designs, this has worked out really well.
  3. Preparing Designs
    1. I forgot to take a picture of it, but it helps to draw an X and Y axis into your drawing.  The purpose of this is to help orient your design at the center of the fabric.  After I had cut out the design entirely, I then used the craft knife to cut triangles into the protective layer pointing towards the center of the XY axis center of the design.  Then, once this was done I could draw the XY axis lines on the protective layer.
    2. I used a yard stick to estimate the center line of the shirt, which I could then align with the XY axis lines on the design itself.
  4. Position Your Design
    1. After looking at various other t-shirts, I decided they tended to look best when the top of the design was about 3″ lower than the bottom of the “V” in my v-neck shirts.
    2. Once I had the shirt on the ironing board, I also put pieces of masking tape with a pen line on the ironing board to help me position and orient the yard stick repeatedly.
  5. Heat / Press
    1. Unlike my first attempt, I made sure to really push hard on the iron.  The idea is that you’re not just melting the vinyl adhesive, but actually melting it into the fabric.  If your iron isn’t hot enough, you’re not ironing long enough, or you’re not pressing hard enough, it won’t actually melt into the fabric.
    2. When you’ve melted it properly, you should see an almost… bubbly texture underneath the protective coating.  Then, once the vinyl is cool and you’ve peeled the coating off, the vinyl should look a little rippled since it is taking on the texture of the underlying fabric.

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  6. Iron, Cool, Wait, Inspect Vinyl, then Peel
    1. I made this mistake with the arc reactor t-shirt.  As I peeled the protective coating off, in one spot the vinyl got pulled up and in another spot it tore the corner off a sharp trapezoid in the design!  While it is possible I didn’t have the iron hot enough or press hard enough, I think the most likely explanation is that I didn’t wait long enough for the vinyl to cool – so it was still molten enough to be adhering to both the shirt and protective coating, causing the design to be damaged and torn.
  7. Peeling Direction
    1. If your design includes very thin or sharp little pieces (such as the pointy trapezoids in the Iron Man arc reactor), consider changing the direction of the protective coating peeling to avoid peeling towards a sharp point.  These little points have so little surface area they can easily stay stuck to the coating and get pulled off the shirt, ruining all your hard work.
  8. Repairing Mistakes
    1. The problem with making a mistake with heat transfer vinyl is that if you make a serious mistake to your design or application, you may have ruined a shirt.  (I would 100% wear a comfortable shirt even if the design wasn’t perfect.)  However, a little mistake doesn’t have to be the end of the world.  I made two mistakes on my arc reactor t-shirt, that I was able to fix well enough that they probably wouldn’t be obvious to the casual observer.

      Yellow arrows show where the design pulled up and wrinkled slightly. The red arrows point to where the design tore and was repaired.

      Yellow arrows show where the design pulled up and wrinkled slightly. The red arrows point to where the design tore and was repaired.

    2. The design of the arc reactor is about 3″ across, to give you a sense of the scale and size of the mistakes.  You can see two slight wrinkles in the vinyl, pointed out by the yellow arrows.  The red arrows points to where you can barely make out what appear to be wrinkles – but show where the design was torn and repaired.
    3. I didn’t find any really good way to fix the wrinkles, other than to really iron those areas very very hard.  It mostly pressed the wrinkles flat and they’re barely noticeable on the shirt.  Between the shimmery / reflective quality of the vinyl and uneven way a shirt would hang on a non-rectilinear organic body or form and the size of the wrinkles on the small design, it’s almost imperceptible.
    4. The torn design was initially quite heartbreaking.  By the time I had worked on this shirt, I had already created five other shirts without any kind of mistake.  It just so happened I either incompletely cut the design out (I don’t think so) or was a little impatient as I peeled the design (probably), and tore a pretty big piece off of the end of the right side trapezoid pointed out by the red arrow.  I tried to use my craft knife to peel the tip of the trapezoid off the protective coating, but it wasn’t working and I ended up mangling it beyond repair.  After stewing a bit, I figured I would simply cut out a new trapezoid piece and iron down over the torn piece.  I made sure to cut the new piece very slightly larger (we’re talking probably only 0.5 mm in each direction) and position it carefully over the damaged section, before ironing it down very firmly, waiting for it to cool down all the way, peeling the coating, then ironing it again.  Once again, I think the damaged portions wouldn’t be noticeable to most observers.

I would guesstimate a 5-foot long and 12″ wide roll of heat transfer vinyl could comfortably make 10-15 good sized designs and as much as 20 if you’re very careful.  Let’s say you can only make about 14 designs out of a roll, to be on the conservative side.  At about $7 for a basic color roll, this about $0.50 worth of vinyl per shirt.  My wife bought me several 2-pack blank v-neck shirts in assorted colors for about $14 per pack.  Ignoring the cost of my time (it’s a hobby, remember!) this is only about $7.50 per custom shirt.  I think this could make a really cool and inexpensive project for a class, letting all the kids make their own designs (by cutting the vinyl with scissors instead of craft knives, if they’re young) or to create a set of team shirts for a field trip or club.

Not only has this been a very fun and inexpensive hobby, I end up with a great looking custom t-shirt at the end that will probably last years.

I’ve got several more designs I’m working on and look forward to a few more updates.

Heat Transfer Vinyl T-Shirts (Without a Craft Cutter)
  1. Heat Transfer Vinyl T-Shirts – Without A Vinyl Cutter
  2. Heat Transfer Vinyl T-Shirts – Without A Vinyl Cutter, Part II
  3. Heat Transfer Vinyl T-Shirts Without a Craft Cutter (2023)

Heat Transfer Vinyl T-Shirts – Without A Vinyl Cutter

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I’m going to commit the sin of a thousand online recipe websites and give you a bit of backstory before I get to the method.  If you don’t like fun, feel free to skip the first few paragraphs.

I recently watched Avatar: The Last Airbender and Avatar: The Legend of Korra with my kids. 1  Both shows were fantastic, but one particular character from A:TLOK was my absolute favorite. Varrick Iknik Blackstone is a fast talking, sometimes erratic, flamboyant industrialist / inventor voiced by John Michael Higgins.  Imagine a cross between Tony Stark and Zaphod Beeblebrox.2

Psst... Do the thing!

Psst… Do the thing!

You can find a few t-shirts out there which feature Varrick’s catchphrase3 and logo for Varrick Global Industries… but they all seem to suffer from at least one flaw.  They all appear to depict the logo mirror flipped with the big sail on the right hand side. I think I know why too.  An artist under the username of RogerBernstein on DeviantArt posted a very large, high quality version of the Varrick Global Industries logo in 2017, which just so happened to be mirror flipped.  His image has the distinction of being one of the first Google Image search results for “Varrick Industries Logo.”  I’m thinking people swiped his work, perhaps altered it a little bit, and then slapped it on t-shirts.  I mean… just look at this…

This doesn't look right

This doesn’t look right

Why am I so sure these logos are mirror flipped?  I paused TLOK during scenes in Season 2 – 4 when you can see Varrick’s yacht, near a plane, on a plane, on a jacket, and near some jewelry.  Now, I’m not even close to the kind of cosplayer / propmaker who has the patience, concentration, or dedication who can recreate their favorites props with meticulous planning, research, measuring, and endless revisions.  Even so, I’d at least like my designs to face the same direction as the show.  There are lots of other pictures showing this orientation, but this was the easiest one to locate.

The logo is partially visible on the yacht to the right side of the image

The logo is partially visible on the yacht to the right side of the image

Anyhow, with the help of GIMP, Inkscape, the pause button, and my trusty laser printer, I created my own design for the Varrick Global Industries logo – ready to put on a t-shirt.

  1. Basics
    1. Creating a design with “heat transfer vinyl” is reasonably straight forward.  The heat transfer vinyl is a thin sheet of vinyl stuck to a sheet of clear plastic with a mild adhesive.  You cut away what you don’t want, leaving the mirror of your design still stuck to the clear plastic, turn it over on a piece of fabric, and melt / fuse the design onto the fabric with heat.
    2. With access to a craft cutter ($250 – $1,000) and a heat press ($100 – $300), you could automate a lot of cutting work (but you’d still have to manually pull the excess vinyl out of the design) and have really fine control over the heat (if that was important to you), but none of that is actually necessary.  While these things might be helpful if you creating designs all the time, you don’t really need much more than some heat transfer vinyl and stuff you already have (a way to cut it, an iron, and some fabric).
  2. Materials
    1. Heat transfer vinyl.
      1. Also known / marketed as “HTV,” you’ll probably want to look for “stretch” or “stretchable” heat transfer vinyl if you intend to putting it on wearables like a t-shirt or similar.  If you’re not putting it on a wearable, you could probably get away with non-stretchable HTV.
      2. As this was my first such attempt, I went with some relatively cheap stuff that was only $9 for 5-6 feet worth of material.  I bought two rolls – one was a blue-purple metallic “chameleon” and the other was a dark silver-gray reflective.  Under normal indoor light conditions both look fantastic.  In brighter light they’ll look… well… brilliant.
      3. Pro Tip:  If your HTV came in a roll and packed in a box, consider keeping the box.  I normally discard boxes, but this way I can stack the rolls easily without having them roll away.
    2. Craft knife & Cutting Mat.  You may not be using a vinyl cutter, but you’ll still need a cutter.  If your design was very simple or you wanted to live dangerously and freehand it, you could probably get away with just using scissors.  We have an old medium size (12″ x 18″) cutting (possibly self-healing?!) mat which works well for most of our purposes.  These days they’re relatively cheap and definitely worth springing for a 2′ x 3′ model.
    3. Printer paper or Sharpie.  I created my design on the computer and printed it out (mirror flipped), then taped it to the HTV, then taped that down on the cutting mat.  If you wanted to just freehand your designs, you could just freehand the design directly on the HTV first.
    4. Tape.  Masking or blue painter’s tape.  The HTV arrived rolled up pretty tightly, so it definitely wanted to roll up while I was working.  The tape kept everything down and in place while I worked.
    5. Iron.  The HTV I purchased recommended applying heat for 5-15 seconds at 300 – 330 °F.  Our iron doesn’t list the temperatures – just the settings for different materials.  I ended up using the “Wool” setting based upon 30 seconds worth of internet research and going to Wikipedia.  The Wikipedia article suggested wool, silk, and polyester would all result in about 300 °F temperatures.  While I can’t vouch for the actual temperatures, the wool setting worked really well for me.
    6. Ironing Board.  I suppose an ironing board isn’t strictly necessary.  But, it sure was nice to have a big, flat, soft, narrow surface to lay my shirt on in order to iron it flat.  You could probably get away with putting down a blanket on a board or some sheets on top of some cardboard or a table.  However, if you already own an iron, chances are you’ve got access to an ironing board.
    7. Parchment Paper.  I used parchment paper because it’s cheap, plentiful, and non-stick.  It’s also slightly translucent, which makes it great for making sure everything is positioned properly and visually seeing when the design is starting to melt into place.  I’m sure there are lots of other nonstick options, but this worked well enough that it would definitely be my go-to in the future.
    8. Optional:
      1. Yardstick.  This is helpful in finding the center line for the t-shirt when you’re ready to apply the design.  It’s helpful, but not necessary.  Since you’re just using it as a straight edge, you could make do with just a long piece of straight cardboard.
      2. Specialty Tools.  You can buy specialty tools for “weeding” heat transfer vinyl, special tools for centering designs on shirts, and special heat pressers to apply vinyl.  For a few shirts now and then, I don’t think any of these are necessary.
  3. Process.
    1. A Note On Double-Checking.  As the old saying goes, measure twice and cut once.  While there are very few “mission critical” steps to this process, there are a few points where it makes a lot of sense to spend the time to legitimately completely check and then double-check something.
      1. Double-Check the Vinyl.  Depending upon the type of HTV you get, it might have two or three layers.
        1. Two Layers.  If it is two layers, there will be a thick clear/clear-ish protective plastic coating and the vinyl.  The side of the vinyl facing the protective coating is the part that will appear on the outside of your fabric and the side without the protective coating is the part that will melt and adhere to your fabric.
        2. Three Layers.  When there three layers, the vinyl will be sandwiched between the thick clear protective plastic coating and (at least in my case) a blue film on the back.  Again, the side of the vinyl facing the protective coating is the part that will appear on the outside of your fabric and the side with the thin film is the part that will melt and adhere to your fabric.
      2. I would recommend checking your HTV by cutting a thin corner off and peeling it to see how many layers you have.  I was alerted to this two/three layer issue by reading a lot of reviews.  My chameleon blue-purple vinyl had three layers and the dark gray reflective only had two.  You could probably remove it before you started cutting out your design, but you’ll definitely need to remove the film layer before ironing.
      3. Pro-Tip:  I would also recommend labeling the box your HTV is in with “two-layer” or “three-layer” to help yourself remember which kind you have when you come back to make a new design next time.
    2. Double-Check the Design.
      1. For most applications, you’ll want to mirror-flip your design.  You can do this in the graphics design program of your choice, probably using some printer settings.
      2. Pro-Tips:
        1. If you’re trying to create a vinyl pattern from some photograph, magazine page, or similar, you might want to photocopy it and then trace the design onto the back of sheet it’s printed on using a lightbox.
        2. Unless you’re creating a multi-layer process, consider making your entire design two-tone black and white.  When it comes time to cut out your design, this will make it a lot easier for you to remember which parts should be cut away and removed.
        3. You’ll be removing lots of areas from the vinyl in a later step.  There’s no harm to your design if you “over-cut” into these areas.  Overcutting allows you to ensure you’re definitely separating sections of the design from the parts that will be discarded.  I would recommend actually drawing in these “over-cut” spots into the design, either as part of the design process or manually with a pen after the design has been printed out.
        4. I like to add the word “reversed” to the design, so I’ll remember to actually mirror flip it.
        5. Since most anything I’ll be creating will fit on a t-shirt, I like to make my designs fit into a standard 8.5″x11″ sheet of paper.  I created a template to do this which has several guidelines and a border 1/4″ all the way around the sheet to make sure the design can be printed within the printer’s margins.
    3. Apply the Design.  As suggested above, you could cut out your design with scissors or perhaps even built it out of scraps of vinyl.  If you wanted to create lettering or follow a very precise pattern, I’d definitely suggest designing on a computer, printing it out (reversed), then taping the design to the vinyl so it doesn’t shift as you cut it, and taping the vinyl to the cutting mat so that doesn’t shift as you cut.
    4. Cut the Design.
      1. I used a craft knife and went slow, using steady medium-hard pressure to cut out the design.  When I wasn’t sure I had cleanly cut all the way through the vinyl, I went back and cut that area again.  Having done this a few more times since I started the blog post, I can say that I didn’t need to cut this hard – and could have used a medium pressure.  More than this and the clear plastic layer gets cut or scored.  This isn’t a problem, but it doesn’t lay flat quite as well any more.
      2. As you cut, be mindful of the areas you’ll be removing that you can “over-cut” into and those areas of your design where you won’t want any knicks and cuts.
      3. I made a point of “over-cutting” the critical pieces, especially at corners, because I did not want to chance the vinyl tearing as I removed the excess pieces.  A single section tearing or stretching would basically ruin the entire design and require starting over.
      4. I had to be sure I was cutting through the printer paper and cleanly through the vinyl, even at the risk of gouging the protective layer.  I was very surprised the protective layer held up as well as it did.  It was clearly scored where I had cut into it, but except for some very small parts, I never cut all the way through it.
      5. Once your design is cut out, use scissors to cut the entire area out of the vinyl roll.  I like leaving a 1/4″ allowance everywhere just so I know the scissors aren’t going to affect my design.
      6. Pro-Tip:  Before you start cutting, it might help to take a moment to plan out your cuts, draw in the areas for “over-cutting,” and even to make sure to darken in those areas that will be getting cut out to help keep things clear while you’re cutting.
    5. “Weed” the Vinyl.
      1. “Weeding” the vinyl is the process of pulling out all the vinyl pieces you’ve cut out that aren’t part of the design.  While there are lots of cheap weeding tool options for sale online for $5-10, I just used the point of my craft blade to pick these little pieces out.  I suppose it might help to have tweezers, a pushpin, a paperclip, or a toothpick, but the craft knife worked perfectly for me.
      2. I’d recommend going slowly, especially at corners, and making sure the parts getting removed are fully cut free from the design elements that are staying.
    6. Iron Fabric.  Definitely take the time to iron your fabric flat.  It would be a shame to discover a wrinkle on the underside of your t-shirt because the design was warped only after the vinyl was fused to the fabric.
    7. Orient the Vinyl.
      1. Once my pattern is cut and weeded, it’s ready to be placed on the t-shirt.  You can buy patterns, templates, and devices for centering a design on a t-shirt, but these seem unnecessary if you’re willing to simply be careful.  Heck, even if you had these specialty tools, you’d still need to be careful.
      2. I made sure my t-shirt was flat and centered on the ironing board, there were no wrinkles in the fabric, the amount of the shirt hanging on the left and right sides were about equal, and then used a yardstick to estimate the center line of the shirt running from the tag down.
      3. I put the design about four inches down from the neck in my shirt after looking at the designs on other t-shirts I had purchased.
      4. If you chose to cut out your design so there was a little extra room all the way around it, the empty clear protective plastic layer will still be “tacky” and help keep the design in place.
      5. Pro-Tips:
        1. It wouldn’t hurt to double-check that you’ve got the exposed vinyl side facing the fabric.  You definitely don’t want it melting against the parchment paper or your iron.
        2. One of the nice things about printing the design with guide marks and registration marks was that it made it a little easier to orient the design neatly on the shirt.  I printed a second copy of the design, then placed it on the shirt – then put the vinyl design down on the shirt underneath the paper.
        3. Before you place the vinyl on the fabric, take a moment to double check there are no stray pieces of weeded / discard vinyl stuck to the protective layer.  They’ll be impossible to remove once you’ve started ironing.
    8. Cover with Parchment Paper.
      1. My design was only about a 6″ diameter circle, so I only needed a piece of parchment paper slightly larger than this.  Since the parchment paper isn’t really consumed by this process, I went ahead and got a big square of it so I can reuse it on other shirts.
      2. The parchment paper I’m using is slightly translucent, which made it easy to ensure the design hadn’t shifted and so I could make a few last second adjustments.
    9. Iron The Vinyl.
      1. Obviously, read and follow the directions for your specific heat transfer vinyl.  The vinyl I purchased recommended 300 – 330 °F for 5 to 15 seconds.  I don’t have a fancy iron, so I heated the iron to the “wool” setting (estimated to be 300 °F) and ran the iron over the parchment paper, pressing firmly, in a small circular pattern for about 15 seconds in each area.  I kept the iron moving so as not to scorch any part of the design, the shirt, or the parchment paper.
      2. Pro-Tips:
        1. It never hurts to do a few test pieces.  I tried ironing both kinds of HTV onto an old undershirt to make sure the heat settings worked, I understood which sides needed to face against the fabric, how I would remove the backing once it had been ironed, and how it all worked.
        2. Having now done this a few times since I started the blog post, I would recommend putting something rigid or semi-rigid under the shirt.  The first time I ironed the design, it looked great – but came out slightly wrinkly in the wash.  I re-ironed it using really heavy pressure and the same shirt has held up in the wash ever since.
    10. Remove Backing.
      1. The instructions for my vinyl told me to “hot peel” the backing.  I took this to mean that I should carefully remove the clear protective coating from the heat fused vinyl.  There were a few small spots where it looked like the vinyl wanted to come up a little bit, but the backing came up cleanly everywhere.
    11. Cover and Iron Again.
      1. Since there were a few small spots where it looked like the vinyl might have come up slightly as I was removing the backing, I put the parchment paper back down and ran the iron around the entire design for about 5 seconds in each spot.
    12. Don’t Wash for 24 Hours.
      1. My instructions say to wait 24 hours before washing the garment.  I spent a while on this design, so I wasn’t about to chance it by throwing the shirt in the wash.
    13. Iron Again (Optional).
      1. After I washed the first shirt I made, the design appeared to have buckled slightly.  After a second ironing, it has stood up to repeated washings without a problem.

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Heat Transfer Vinyl T-Shirts (Without a Craft Cutter)
  1. Heat Transfer Vinyl T-Shirts – Without A Vinyl Cutter
  2. Heat Transfer Vinyl T-Shirts – Without A Vinyl Cutter, Part II
  3. Heat Transfer Vinyl T-Shirts Without a Craft Cutter (2023)
  1. I’m going to reference these shows and their contents a lot.  I don’t own their intellectual property, they do, I just wanted to make a fun t-shirt for myself. [↩]
  2. Those who know, know. [↩]
  3. Do the thing! [↩]

FIXED: Minecraft Launcher Stuck / Won’t Download / Slow Download on Windows 10

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Sometimes you just gotta roll up your sleeves and craft your own fix

Sometimes you just gotta roll up your sleeves and craft your own fix

I recently purchased Minecraft for the PC (Windows 10) and tried to install it.  It was brutal, but I got through it.  I’m documenting my experiences here in the hopes it helps someone else.

The download was incredibly slow, would time out, get stuck, would give me the message “queued in position X,” or would simply not work at all.  Sometimes it would download 10 or 50 MB and then stop.  It was pretty frustrating.  I tried a number of things and eventually found a constellation of things that ended up fixing the problem.

  1. Things That Helped / Worked:  From Simplest to Most Complicated
    1. Making sure I was on a speedy wifi network.
      1. The easiest first step was to get off the wifi extended and onto the main wifi network.
    2. Ended all Minecraft processes / programs that were running.
      1. Press Ctrl + Shift + Esc to open the Task Manager.  (Right clicking on an empty space on the task bar can also bring this up as an option in the context menu.
      2. Right click on any “Minecraft” processes as select “End task.”
    3. Sign out of the Microsoft Store app.
      1. You should see a two letter (probably your first and last initials) circular icon in the top menu bar for this app.  Click “Sign out”
    4. Reset the Microsoft Store app.
      1. Start / Windows Button -> ⚙️Settings -> Apps
      2. Scroll down until you see “Microsoft Store,” select it and click “Advanced options”
      3. Click “Repair,” let the computer do it’s thing, then click “Reset.”
    5. Make sure the time zone and clock are up to date.
      1. This sounds kinda crazy, but it’s a legit reason why Minecraft might not be installing.  Many programs try to synchronize and authenticate each other across the internet – using agreed upon times as a basis.  An incorrect time might be used by a malicious person or program to breach a system.
      2. Anyhow, here’s how you apply this fix:
        1. Start / Windows Button -> ⚙️Settings -> Time & Language
          1. Turn on “Set time automatically” and “Set time zone automatically” and click “Sync now”
    6. Check to make sure you didn’t cripple the download speeds yourself.
      1. Start / Windows Button -> ⚙️Settings -> Update & security -> Delivery Optimization -> Advanced options
      2. When setting up my PC I had crippled Windows download speeds to 0.1 Mbps.  While this helps my day-to-day computer usage and prevents Windows from chewing up all my bandwidth to update itself, it also crippled anything I wanted to download through the Windows Store app.  I’d recommend removing all bandwidth caps while trying to download Minecraft.
    7. Notes:
      1. I can’t be sure, but Windows does a lot of stuff behind the scenes, but having checked the installed apps after Minecraft was fully installed, I noticed several other apps were also installed.  I believe the Windows Store needed to install a bunch of other programs and app / dependencies before it would actually allow Minecraft to download.  You may or may not see these pop up.
  2. Things That Did Not (Seem To) Help
    1. Restarting the computer didn’t seem to help.  I suppose it’s worth trying.
    2. Trying to install a prior version of Minecraft for Windows 7/8 didn’t work either.  They seemed download fine – but wouldn’t run at all.
    3. Trying to install the Minecraft Java version first.  I ended up uninstalling all versions and all launchers and starting from scratch.

I hope this helped.  If you’ve got some other fix that worked or idea how to help, I’m sure plenty of others would want to know.  Feel free to leave a comment.

Building a Travel Ukulele: Improvements

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Updated / upgraded DIY travel ukulele

Updated / upgraded DIY travel ukulele

I’ve been playing my DIY travel soprano scale ukulele for about a while now and it’s been really great.  If I lightly strum it, it’s quiet enough that someone a few feet away might not notice.  If I really go for it, you could hear it across the room.  If I put a board of some kind between the ukulele and myself, it sounds considerably richer and louder.1  I started compiling some additional thoughts after the first week:

  1. String Stress.
    1. The strings seemed to stretch a little as I played the ukulele over the course of the week.  I had to slightly tighten the strings each day to keep it in tune.  The first day there was a lot of variation – and by the end of the week it barely needed any adjustment at all.

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    2. That said, the string tension has caused the strings to bite into the wood above the zero nut and seem to have caused a hairline crack in the turn around.  I suspect after a week of being stretched and compressing the wood just a little, it’s not going to continue to bite away at the wood.
  2. Zero nut, string holes, string ties.
    1. As several other builders have noted, once the strings are tensioned, they start to bite into the wood.  I tried to avoid this problem by using a hardwood, but it’s clear there is still some element of this on the ukulele.  Some ideas:
      1. Placing an additional 3/32″ fret above the zero fret and a hair below the string holes would likely prevent the strings from “biting” into the wood.  Of the various ideas that occurred to me, this is probably the flat out simplest, easiest, most immediately effective solution and involve the least amount of changes to the existing build.
      2. I’d toyed with the idea of drilling the holes out a little larger and inserting a thin plastic or metal tube which would serve as a smoother path for the string while also preventing this “biting” problem.  This would be a very complicated fix for a simple problem and involve some variation of sourcing the tubes, drilling larger holes, cutting the tubes, and glue the tubes in place without obstruction.  I’m not crazy about any of these steps – and more than that, I think it would be overkill and not have the right aesthetic for this project.
      3. My off-the-shelf ukulele has a slotted bridge, where the strings are tied into a knot, slid through a small opening, over the bridge, across the frets, the nut, and then the tuners.  There’s no reason I couldn’t put a 3D printed slotted nut at the top of the ukulele.  There are several possible benefits to doing this, with little downside:
        1. It would eliminate the need for drilling four holes in the top of the ukulele for the strings.  Printing a 3D model could ensure exacting spacing for the strings.  The plastic could be affixed with screws, bolts, or even fit over the end of the ukulele.
        2. Once the requirement for drilling small holes for the strings is removed, other interesting possibilities arise.  When I installed the Graph Tech tuners, I found they were very slightly smaller than the holes I had drilled and reamed out for the chrome tuners I already had on hand.  There’s no special need for the screws in the turn around to be #10-24’s.  Perhaps they could be screws that match the same holes drilled for the tuners?  If so, I would only need a single drill bit for the tuner and turn around holes.  (Though, it would be hard to find sweet sweet black oxide hardware to match this diameter.
  3. Turn Around.
    1. The slight crack in the turn around appears to be at just one end with the 1st / A string.  This might be the paint cracking – or the plastic itself.

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      I can’t really tell unless I loosen the strings and then pull the turn around out. (Something I don’t want to do).  I bet if I redesigned the part so the nut was placed a little farther in the model (so there was more plastic at the end of the turn around), printed with a higher infill, added more captive nuts, and/or increased the diameter of the bolts, this problem might be mitigated.  That said, it’s a very small crack, likely only superficially cosmetic, and unlikely to cause the plastic to actually fracture.

Having very nearly reached the “end” of this project… I can’t help but turn my mind to how it could be improved.  If I succeeded in building a better model, I’d have two sweet ukuleles.  If it was a horrible failure, I’d have gotten some fresh air, a little exercise, and still have one sweet ukulele.

  1. Potential Improvements / Process Changes In a New Version
    1. Saws.
      1. Japanese Pull Saw.  Upon seeing my project, two friends recommended a Japanese pull saw.  I think it would be an amazing tool – except that the way I have the “head” of the ukulele wider at the top, I don’t think it would work very well.  I sketched out a design for a different kind of ukulele template that would be amenable to a several straight cuts.  A saw like this might cost $20-40 and would save a considerable amount of time clearing the wood away from the fretboard.  This would still leave a fair bit of work on the interior of the body.  Chances are this saw would instantly justify it’s expense in the time savings on the fretboard alone.
      2. Scroll Saw.  A cheap scroll saw can be picked up new for $100-$150.  Without a big workbench, having the integrated table to go with the scroll saw would be a huge help.  I’ve ballparked my time investment into this ukulele at around 100 hours. 2  A scroll saw could be used around the entirety of the ukulele, from along either side of the fretboard, chopping the top off the head, to cutting out the interior cleanly.  I plan to do an in-depth post-mortem at some point detailing the time I spent on each aspect of the build, but I know I spent hours over weekends cutting the ukulele.  I suspect even going very slowly with a scroll saw, I could cut the entire ukulele out in a single morning with much cleaner cuts than what I could accomplish.
      3. Jig saw.  While I own a jigsaw, I didn’t use it in this project.  I wanted to use as many handtools as possible and keep the entire process about my struggle in turning this plank of wood into an instrument.
    2. Drills.
      1. Drilling.  Andrew suggested clamping a piece of sacrificial wood on the top and bottom of the board.
      2. Power Drill.  Obviously, using a power drill makes drilling the holes for the tuners, turn around, and strings much easier.  It was difficult to drill perfectly perpendicular.  However, I have some ideas…
      3. Drill Press.  A drill press would be fantastic, but too expensive for this project, too big to move or keep around.  Maybe I know someone local who has one I could use?  (The Sacramento lending library doesn’t loan drill presses)
      4. Drill Guide.  Looking through Rockler’s website I found several drill guides that allow you to drill perfectly perpendicular to the surface.  Now, this gave me an idea…  for designing a 3D printed jig / drill guide to drill through a piece of the sacrificial wood on top of the side of the wood.  I’ll come up with a sketch.
      5. Hand Drill.  Annnnnd, if I’m already creating a 3D printed jig / drill guide, why not build it with an integrated hand drill?  The drill I created is good enough in a pinch, but while researching 3D printed drills, I found this amazing pump drill which rotates in the same direction whether it is pumped up or down.  What I like about these ideas is that it is entirely possible to cut, drill, and carve the ukulele using all hand tools.  Admittedly, some tools I 3D printed, but hand tools nonetheless.  I kinda like the idea of a specialized tool for drilling holes into a plank of wood for creating travel ukuleles.
    3. Zero Nut
      1. Reinforced Zero Nut.  Just adding another 3/32″ cotter pin above the zero nut should be enough to keep the strings from biting into the wood.  This is likely the easiest solution – and easiest one to retrofit into the ukulele I’ve built.
      2. “Slotted Nut.”  I tied a knot in the strings before putting them through the string holes in the head and all but one of the string knots were pulled up into the wood.  I expect this will be a real problem when I need to change out the strings.  I think I could create a 3D printed piece which would act like a slotted bridge, but screwed or bolted into the wood above the zero nut.  It would need to keep the string lower than the zero nut, but this seems like a solvable design issue.
      3. About a month after I started writing this
    4. Bridge.  I’m happy with the bridge.  However, I noticed in Daniel’s latest video he used a metal rod with two brackets on either end to place the bridge a precise distance from the nut.  While I have no intention of making a pile of ukuleles, it would be nice to precisely place the bridge.
    5. Frets.  Some of the frets were glued in at a slight angle which will have an impact on chords, but perhaps so much I could detect.  If nothing else, some of the frets look very very slightly off.
    6. Turn Around.
      1. The turn around installed in my ukulele right now looks good – but has one minor flaw.  Since it is plastic (sanded smooth) and painted, it is a fair bit “grippier” than a piece of anodized aluminum like the tattoo grips Daniel uses.  Adjusting the tuners still affects the tension of the string – between the tuner and the turn around, but the string tends to bind over the turn around, meaning any tightening or loosening of the tuners doesn’t have an immediate change to the sound until the ukulele has been played a bit.  This makes tuning take a bit longer.
      2. I’ve come up with a design I’ll get to in a little bit, below.
    7. Wood.  I bought two pieces of wood when I started this project.  One piece of mahogany and another piece of scrap hardwood.  I thought I might start on the scrap hardwood, then progress to the inexpensive (~$10) mahogany.  I just went ahead with the mahogany first at my wife’ suggestion.  There are several other dark hardwoods I think would look really nice – and provide a stark contrast to the cotter pin frets.  If I started again, I would get a piece of wenge, zebrawood, ironwood, or walnut – just based upon the look alone.
    8. Tuners.  The Graph Tech Ratio tuners are low profile, inline, lightweight, and the most expensive single part of the ukulele at about $30 for a set.  They’re also totally worth it.  If I make another ukulele, I’ll buy these right at the start.
    9. Sound Board.  When a thin rigid box or a large piece of honeycomb corrugated cardboard is placed between my chest and the ukulele, it sounds a lot louder and richer.  However, it’s not easy to hold the ukulele properly as I do so.  I have a few ideas about creating a ukulele body shaped “soundboard” the travel ukulele could be clipped / secured into.
  2. Changes Since I Started This Blog Post
    1. I started this blog post around August 28, 2022 and am coming back to it around October 10, 2022.  In that time I made a few adjustments / changes to the ukulele.  Most of these are detailed in this instagram post on September 12, 2022.
    2. Re-Designed Turn Around.  The silver and black turn arounds had been accidentally printed at 20% infill and started to show stress fractures around the captive nuts.  The captive nuts were also seated too close to the first and fourth strings, putting extra pressure where the plastic was the thinnest.  I redesigned the turn around to put the captive nuts exactly between the first two and last two strings and reprinted it at 100% infill before filing/sanding/painting.  Since the turn around is still one solid piece, there are still minor string binding issues when tuning.

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    3. Re-Re-Designed Turn Around.  I’ve now designed a new multi-part turn around which trades simplicity for several improvements.3  It is now comprised of a “core” which looks like a thinner version of the original turn around and four “rings” which slide over the turn around to allow each string to turn that one section by itself – allowing the tuning tension to be transferred immediately to the string.  The reason for the grooves in the core is the interiors of the rings have little ridges which keep each ring from being pushed out of place.  One side benefit of this system is the captive nuts are no longer visible, creating a cleaner look.  I’ve printed, but not yet sanded and painted this version, but it looks to be the best one I’ve created so far.

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    4. Larger Countersunk String Holes.  In order to put the new turn around in place, I had to remove the strings.  Pulling the strings out was a lot harder than I had anticipated.  As I tuned and played the ukulele, the strings were wedged deeper into the string holes.  I had to use thin pieces of wire and other bits of string to get them out.  Once they had been removed, I used my DIY hand drill to widen the holes on the underside and made sure to tie additional knots in the string so they couldn’t get wedged in place.
    5. Fret Markers.  And since I was removing the strings anyhow…  I might as well install my DIY fret markers.  The fret markers are small circular cut-outs of iridescent cellophane I cut out with a hole puncher.  I put a sticky-note on the cellophane and a piece of paper on the other side, then punched.  Doing so gave me perfect little circles.  (Trying to punch out circles from cellophane without the sticky notes just tore or mangled the plastic).  I sanded the fretboard between the frets until it was as smooth as I could manage.  Then I used a glue stick on the fretboard where I wanted the fret marker and pressed it in place.  Once it had dried, I then added a few coats of finishing oil to hopefully seal the fret marker in place and then wax over everything.

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    6. Reinforced Zero Nut (“Negative One Fret”?)  Before putting the strings back in and before I added the oil and wax, I also sanded the area above the zero fret and glued in an extra 3/32″ cotter pin just barely under the string holes.  The result has been great.  The strings can’t touch the wood at the edge of the string holes, so they can’t bite into the wood causing the ukulele to go out of tune over time.  (I’m sure the strings will stretch a little, but at least I can remove one source of error).

      Gluing and holding zero fret reinforcement into place

      Gluing and holding zero fret reinforcement into place

There’s not a lot I’d do to update / upgrade / change this ukulele.  I could get to finishing (sanding, painting, natch) and installing the newest turn around and strap buttons, making a strap, and possibly a carrying case.  These are all lower priorities for me as I’m pretty much just enjoying playing it right now.

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  1. See my last post for the decibel meter readings [↩]
  2. Maybe it’s more of a Fermi estimation [↩]
  3. See later posts regarding why this turns out to be a bad idea… [↩]

Guest post: another travel ukulele

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Hi folks—this is Tim, I came to know MakerBlock through my attempts at making a travel ukulele too. So here’s a guest post postmortem (guest postmortem?) about my most recent build! For some background, this is my second travel uke build. My first was an early pandemic project, but I accidentally used some wood that was way too soft, and was very limited in my tool access (including living in a small apartment with neighbors who didn’t take kindly to craft projects). For this second attempt, I’ve sourced better materials, which was a big help. Unlike MakerBlock, I don’t have access to a 3D printer, but what I do have is some basic power tools—jigsaw, sander, drill and the like—courtesy of the very handy Ryobi One interchangeable battery system. Also, I’m lucky to live close to a number of hardware/gardening stores, so I was able to spend a long time wandering up and down the small parts drawers looking for a random thing that would work well.

I’m also a hobby leatherworker, and you’ll see in some of these photos a leather backing I made for the ukulele. I’m not sure how much extra volume it gets me, but it’s light, easy enough to travel with, and I can just take it on and off if I want. It definitely doesn’t hurt.

This is less of a blow-by-blow, and more just a series of notes and thoughts to help people avoid issues that I’ve faced, and to give hints along the way.

Closeups of my truly hideous first build.

 

Wood:

The standard dimensions of these travel ukulele plans are nicely suited to 1×4 pieces of wood (which are more like 3/4×3.5” when you measure them). I kept mine at full width, and for the second time in my experience it led to problems with the tuners, but more on that in a sec. I bought a piece of decently affordable hardwood from my local lumber store, and cut it down to shape using a jigsaw, and sanded it to bejeezus using both a rotary sander and by hand. It came out fantastically smooth in the end, and I finished it with butcher block oil, which looks lovely. The hint about dampening it for an extra sanding step was fantastic on really getting it to feel smooth.

Hardware supplies:

I used a large cotter pint pin for the zero fret, but for the other frets I cut small slits with a coping saw, and put in fret wire. It was pretty affordable on Amazon (though I try not to buy from them if I can avoid it), and I could cut it to size and very gently tap it into place with a tiny rubber mallet I already had. However, with my little hand saw, it was hard to get the cuts to a consistent depth, so they’re a bit all over the place. One or two of the frets fell out, and I had to give them a bit of wood glue to keep em in place.

Cotter pin for fret 0, small cuts and fretwire for the rest.

The rod for the bridge was oddly difficult to find. I searched through multiple hardware stores, and couldn’t find any straight, appropriately sized, metal rods. What I eventually did was get a long metal bolt, and used a jigsaw to cut off the head. This worked, but ended up being super buzzy and weird sounding, I think my strings reverberated against it oddly. So instead I used a measure of hardwood dowel, which I love the look of, but is bowing a little under the pressure of the strings. The little brackets were also a nightmare to track down, I eventually found appropriately sized one in the hardware store in the lawnmower engine parts of the bits and bobs aisles, of all places.

For the turnaround, I didn’t like the look of making one from washers (one of the methods recommended in the various Circuit and Strings blogposts) and all the tattoo machine grips (another similar rec) didn’t have 4 slots so wouldn’t spread out symmetrically. Instead, I ended up using a hunk of a dead branch from our backyard that I more or less cut down to size, and then drilled a hole through the middle of. I was able to put cuts in it for the strings, and then waxed it a bit with paraffin wax to give them a little lubrication. However, even so, wood definitely has more friction than using metal or plastic, so sometimes the tuning is fiddly as the strings don’t adjust as finely as I would like. For the post, I used furniture bolts, with washers to adjust spacing as needed. The nice thing about furniture bolts is that they come in a bunch of lengths, and use allen keys on both ends, so can screw in really tight. Though the end for receiving the length of the bolt is wider by necessity, so requires a slightly larger hole.

The too short tuners extended to fit, the buzzy metal bridge, and the weirdly spaced tattoo machine grip turnaround.

The more-stable and longer guitar tuners, wooden dowel bridge, and homemade wooden turnaround.

The tuners. Aye. Truly the bane of my existence. The biggest issue in the planning phases was in that printing off and designing the overall shape, I made the branches of the uke too thick. I was using these cheapos . Most ukulele tuning machines/pegs/whatever aren’t designed to go through a 3/4” wide piece of wood (which I learned after purchasing multiples that didn’t work). Short of countersinking the holes from the inside of the uke (which I definitely didn’t have the tools to do) I was forced to make some really heavy modifications. With friction tuners, I found that I could take them apart, and extend the posts by matching the bolts with a longer version that I found in the hardware store (I think the long, super thin, very tight thread bolts are called gun or gunsmith screws or something bizarre?) However, it still worked poorly, the strings pulled the tuners out of shape, and it went out of tune almost instantly—the friction from tuner-on-wood was simply too little grip to hold the necessary tension. While I prefer the way the friction tuners look on these travel ukes, I swapped them for these tuners for guitars—which have much longer posts. However, getting them to fit was a kludge due to hole-diameter issues, which I eventually fixed with a rasp and some elbow grease. Opened the holes slightly, forced the collars of the new tuners in place, and used wood glue and clamps to make sure they’d stay there.

What I did find in my research is that many of the companies have specs available on their websites that tell you exactly how long the posts are, and how big of a hole they need. Compare below my original cheapos vs the ones I ended up with vs those cool GraphTech ones.

One of the most useful tool I found was this fretboard creator that lets you specify how many strings you want, and at what tuning, and it’ll generate a proper, printable chart for you to use to place the frets and turnaround and whatnot. Or you can use the tables it generates to measure them by hand. (I used this info to generate the necessary size and number of frets)

Things I wish I’d done differently:

Here’s the thing: the shape of the ukulele can be incredibly flexible. You can just freehand a design to your own tastes. What I would do would be to actually make a significantly wider neck, to give more space between the strings, so my enormous uncoordinated hands don’t feel so damn cramped. Using the tool above, I would also make sure that I space the strings accurately, and have a decent amount of space in from the edge of the neck to the 1st and 4th strings. And I would make the “arms” of the ukulele more like 0.5 inches thick to make the tuners fit more easily. I would also countersink the strings at the head of the uke, because it looks better and is less scratchy.

About half way through the project I bought a couple of jigs, including a self centering one for drilling. I wish I’d had that from the start. It would make for holes that are perfectly straight and exactly in the center of the wood, which would be a definite improvement over me marking it with a pencil and then the drill wandering off of alignment. They cost less than $20, come in all sorts of wild shapes, and they’re pretty neat.

In the meantime, I have the ukulele, and it’s mine, and I made it. Does it sound good? No. Am I good at playing it? Also no. But! I’m currently traveling for 7 weeks, and I brought it along to futz with, and it’s a really fun thing to travel with. I was able to unstring it completely in transit, and restringing and tuning only took probably 10 minutes. Since it’s made from a single piece of hardwood, it’s pretty damn durable. It’s so quiet that it won’t bug anyone around me when I practice (blessing or curse, depending on your take). And if something terrible happens to it? Well, all the more reason to make another one.

Building a Travel Ukulele: Bridge, Stringing It Up, and a Sound Test!

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I’ve tended to avoid referring to this project as a “ukulele” and usually refer to it as a “piece of wood” or “plank.”  Today I’m calling it a ukulele since I was able to actually string it up and play it.

  1. Bridge.
    1. I wasn’t happy with the bridge brackets.  They looked uneven and even after plenty of time to dry, they still felt… gummy?  Tacky?  Grubby??  Not great, in any event.  I sanded them last night, again this morning, 150 grit, 400 grit, and then 1500 grit, washed them with soap, washed them without soap, set them out to dry, spray painted them again, set them out again, and this time after several hours they were dry.  They went onto the bridge and then the plastic posts in the ukulele with minimal post-processing.  It fit snugly with a little bit of force and went flush against the body of the ukulele.

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  2. Strings.
    1. I’ve never added strings to a ukulele before, so this was entirely new to me.
    2. I watched this video again and then dove into putting the strings on the ukulele.  This was another of those moments which felt a little tense.  In the end, it was really just the idea of doing something new and possibly ruining a string or a set of strings.  3D printing is so forgiving.  If I screw something up in design or printing or finish… I can just make more.  Wood and strings and metal are not so easily fixed.  Anyhow, it all turned out okay.
    3. Using what I’d learned from Soph, I decided to tie a knot in the strings, leaving enough extra so they could be fed back into the string holes, preventing any sharp bits from poking me as I played.
    4. I had drilled the string holes under the ukulele with a slightly larger diameter drill bit than the one at the top, so most of the knots disappeared into the holes.  Whenever I need to replace these strings, it will probably be a pain to get them out again, but that’s a problem for future me.
    5. I play my ukulele with a “C” tuning, so these strings my wife bought me to go in my regular ukulele worked just fine.  If you’re right handed, play chords with your left hand and strum with your right hand, then when you grip the ukulele neck in your left hand, the 1st string (A) would be closest to your fingers and the 4th string (G) would be nearest your thumb.  Going from the thumb-side to the finger-side, they would be 4th / G string, 3rd / C string, 2nd / E string, and 1st / A string.  I put a sticky note on my ukulele while I added the strings, one at a time, so I wouldn’t get anything mixed up.

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    6. After I got the strings on, I wrestled with tuning the strings.  They seemed to go out of tune pretty quickly – but I suspect this is due to the strings stretching a little.
    7. I’m glad I waited to install the strings and bridge until I had the black oxide hardware.  I’m sure the chrome or stainless steel would look great, but I prefer these design elements together.
  3. Volume.
    1. It’s a quiet instrument, but actually sounded a little louder than I would have expected.  After playing the travel uke for a few minutes, I grabbed a nearby checkbook box lid and put it between the ukulele and my body, which seemed to add a bit of volume.  As you know, I have a decibel meter from my whistle experiments, so I performed a little science for you.
    2. InstrumentDecibels
      Travel Ukulele, strumming57.9
      Travel Ukulele, playing73.6
      Travel Ukulele (with box), strumming64.8
      Travel Ukulele (with box), playing75.8
      Soprano Ukulele, strumming82.7
      Soprano Ukulele, playing94.5
    3. I was pleasantly surprised the checkbook box added so much to the volume.  It was an audible difference to myself and my family.  I may try this again with a wood box, plastic box, plank of wood, and sheet of plastic.  I have to wonder if something as commonplace as a frisbee would work well.  If so… awesome.
  4. Sound.
    1. I recorded myself playing the first few bits of House of the Rising Sun first with my store-bought soprano ukulele, the travel ukulele, and then the travel ukulele with the checkbook box lid underneath it.  I start off each 45 second sound test with a single downward strum on each chord before playing the first part of the song.
    2. Here’s a single video comprised of the three clips one after another.
  5. Turn Around
    1. The stainless steel turn around I swapped out for the black oxide ones (for purely aesthetic reasons) were only 1.25″ long because that’s what Home Depot had easily available.  Since I could choose almost any length and style, the black oxide machine screws are button head, socket drive, and 1.5″ long.  Since the ukulele is exactly 3″ wide, there was a chance the screws would touch in the center preventing the turn around from being secured in place.  Adding washers preventing this from being an issue – while also looking neat.
    2. If you’re willing to use a 1″ long machine screw, there are a lot of other potential choices for materials.  You could get bronze, steel, black oxide, chrome, nylon, etc.  I can’t be absolutely certain using 1″ screws would be fine, but I’m pretty sure it would be.  The plastic is really sturdy with thick walls, beefy infill, and able to withstand a fair amount of lateral compressive force based on how I chose to orient the print.
  6. Fret Markers
    1. I suspected that just using a hole punch on the cellophane wouldn’t work well.  I tried it anyhow.  :)  All it did was deform the cellophane.  Then I tried it again after pressing the cellophane into the sticky part of a post-it note.  I then tried punching it with the hole punch upside down and right side up.  I didn’t see much of a difference either way.
    2. In a perfect world, I would not have strung up the ukulele yet, figured out the fret markers, maybe added another layer of finishing oil, waxed again, and then installed the strings.  I was impatient, so I just went for it.
    3. Before I add fret markers, I’ll want to finish a larger piece of scrap wood1 to test the optimal glue and whether different sides of the cellophane behave differently.

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Now, the ukulele is playable, but it’s not done done.  Here’s what’s next:

  1. Figuring out fret markers
  2. Sanding and painting strap buttons
  3. Making a ukulele strap from seat belt material and heavy duty rip stop nylon, possibly with a 3D printed buckle / slider
  4. Write up a post-mortem of what I learned
    1. Always print extra parts, order extra parts, cut extra pieces, and finish extra test parts
    2. Testing materials, paints, finishes, and adhesives
    3. Be bold – maybe I’ll ruin a plank of wood, a string, or two months of work.  Or maybe I’ll end up with a ukulele.
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  1. That is to say sanding, sanding, sanding, sanding, wetting, sanding, sanding sanding, sanding, finishing oil, sanding, finishing oil, sanding, finishing oil, sanding, finishing oil, sanding, waxing, waxing, and waxing [↩]

Building a Travel Ukulele: Swapping Hardware, Fret Experiments

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Before it got too hot this morning, I spent a little time experimenting with materials before taking another scary step towards finishing the travel ukulele.

  1. Bridge.
    1. Now, I could have called it a day with the bridge brackets I designed, printed, sanded, and painted.  But, it didn’t have exactly the aesthetic I wanted.  I didn’t want to see a screw on the top of the ukulele body.  I don’t know why, I don’t have a great reason for this, I just didn’t want that.  Instead, I worked on implementing the idea I had sketched out in a prior blog post.

      What's really on the back of the Declaration of Independence

      What’s really on the back of the Declaration of Independence

    2. With several interesting benefits, the major downside to this design change is … I would be taking a drill to my ukulele after I’ve “finished” sanding, oiling, and waxing it.
    3. Today I took a deep breath and went for it. I used my hacksaw to cut two small pieces of the plastic balloon rod that I’d been using to hold printed parts as I spray painted them.  I did some test drilling on scraps of wood and tested hot glue with the plastic rod.  Hot glue doesn’t stick to everything, so I wanted to run this test before I tried.  I… probably should have done this before taking a drill to the wood again.

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    4. Once I measured the two plastic posts I discovered they were very slightly misaligned.  It’s only 1-2 mm or so, but by having the brackets like this, I can just measure, design, and print a slightly longer bracket on one side.  Which is exactly what I did.  This is another defect / variation no one other than myself (or you, loyal reader) would ever notice.

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    5. There were some intermediary steps here.  I designed and printed several different iterations that didn’t work.
      1. If you need to print something that will fit a 5.0mm diameter part (such as these plastic rods sections), you can’t have a 5.0mm hole.  You need at least some clearance to be able to fit the part.  I like to use 0.35 – 0.5 mm for parts that are supposed to move against one another regularly and 0.175 – 0.2 mm for parts that are supposed to friction fit and stay together.  I completely forgot to add this variable to my first set of prints.
      2. My second set of prints didn’t work because I had left support structures enabled and there were little bits of plastic inside the holes which I could not remove.
      3. My third set printed well – but I lost one of them and had to reprint it.
    6. These two parts have now been painted black and are outside drying in the 95 degree heat.  :)
  2. Fret Markers.  I was toying with the idea of 3D printing silver PLA on diffraction grating for a sweet rainbow-y look to the fret markers.  For a variety of reasons, I won’t be doing this.  However, why not share some of my experiences? 1
    1. I have quite a lot iridescent cellophane because I want to make these papercraft LED crystals by Erin St. Blaine.  Would it be possible to 3D print directly onto cellophane?  A sample size of 1 tells me “no, this doesn’t work.”  The molten PLA only barely stuck to the cellophane and came off the surface part way through printing.  The underside of the model wasn’t even slightly shiny from being printed on a smooth surface.  It deformed the cellophane and turned into plastic spaghetti.

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    2. Now, it’s possible the coating / surface of both sides of the cellophane were not identical.  If so, perhaps I’d have better luck?  Both sides felt the same and since I didn’t mark the side I printed on in the first place, I would have to try this all over twice more just to figure out if it worked.
    3. I also considered printing on diffraction grating – or something with a similar texture.  There are several fantastic guides for this, from pouring chocolate holograms to 3D printing rainbow reflective plastic.  Both of these methods suggest dual axis diffraction grating.  With Amazon being out of the highest “lines per inch” of 13,000 or so, I looked to possibly source these sheets directly from the manufacturer’s website website.  Thanks to Caleb Kraft, I looked into specialized 3D printing bed surfaces.  It seems like these surfaces are large stickers for metal printing beds, but might even be the same or similar to craft cutter vinyl, heat transfer vinyl, or even contact paper.  Given I want to make some really small fret markers and all of these potential surfaces were either way larger or way more expensive than I was thinking, I considered some other ideas.  Several years ago I had purchased some coin cell batteries which came with “rainbow” glasses, which I knew to be made from diffraction grating.  I pulled them out of the drawer and tore them up, you know, for science.

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    4. Going through drawers finding project scraps for experiments is the kind of thing I can do indoors at night, but in the light of day I reconsidered this process.  If you’re going to try this process for yourself, keep in mind only the smooth side is “rainbow.”  I wasn’t able to immediately tear the diffraction grating out of the glasses cleanly, so I set this part until this morning.
    5. I think I would really like to try printing on diffraction grating / holographic surfaces.  I saw a post about someone who had used “cheap holographic stickers” from ebay.  I would have tried this, except I couldn’t find anything similar on eBay or Amazon.  I did find some companies selling large rolls of holographic vinyl.  I would be remiss if I didn’t mention the 4Quarters3D shop mentioned by Caleb Kraft.
    6. And, after all this research and pontificating, I’m not using any of the above ideas.  Drilling holes in the finished wood was a little nerve wracking.  The holes drilled into the body for the bridge resulted in more splintering than I wanted, despite care with drilling and taping the wood first.  The idea of drilling even more holes into the neck does not appeal to me.  Even if I were to achieve a rainbow-y 3D printed fret marker, whether by diffraction grating, special custom 3D printing surface, holographic sticker, or holographic vinyl transfer sheet, I would have to drill a hole into the neck, sand the printed fret marker, then glue it in place.  Each fret marker would represent a new chance to splinter the fretboard.
    7. Instead, I tried something else.  What about gluing a piece of the thin cellophane directly to the fretboard?  Surprisingly, the white glue didn’t work nearly as well as the glue stick.  After the white glue dried, the cellophane flaked right off leaving a shiny patch where the white glue looked smooth.

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    8. This could have been the result of placing more glue stick adhesive than white PVA glue, variations in wood finishing under the two pieces of cellophane, or perhaps the two sides of the cellophane have different properties and I accidentally flipped one of them.
    9. I really like the iridescent effect of the cellophane on the wood.  At certain angles, the cellophane appears to disappear – and at other angles looks quite prominent.
  3. Tuners.
    1. I just got the GraphTech Ratio Tuners!  They’re gorgeous, lightweight, black, anti-backlash, and… were intended to fit holes slightly smaller than the ones I’d drilled for the shiny metal tuners I had on hand.  After watching their installation videos, I inserted a thin strip of cardstock into each of the tuner holes, which shimmed the friction fit part into place.  An awl marked the spots for the screws, my thinnest drill bit wrapped in a rubber band and insert into the DIY 3D printed drill, and then secured in place with the included screws.

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  4. Hardware.
    1. The hardware from BoltDepot.com arrived today!  I had ordered both black oxide and chrome hardware.  I lost no time at all sprinting to the mailbox, pulling out the stainless steel screws / nuts, and dropping in the black oxide  coated stainless steel hardware.  Since the wood is 3″ wide and machine screws were 1.5″ wide, I also ordered black oxide coated washers which gave it just enough space so screws can fit without a problem.
    2. It’s something of an extravagance, but I also purchased a pair of chrome plated machine screws (they only came up to 1″ long), washers, and nuts.  After playing with these a little, I preferred the black oxide.
    3. If you wanted to go with black oxide hardware without having to buy any extra parts, you could get away with one 1.25″ machine screw, one 1.5″ machine screw, two nuts, and skip the washers.  These would cost you a whopping $0.66 plus shipping.  The catch here is the shipping is $4.95, so you almost might as well splurge and try a few combinations.  The screws I purchased also require an imperial hex set, so keep that in mind.  You can find these screws in black oxide with a Phillips head, but then they only go up to 1″ long.
    4. The overall cheapest route is the stainless steel hardware in a 5-pack of 1.25″ machine screws and nuts for $1.28 from Home Depot.

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  5. Tim’s Ukulele
    1. Tim had hit me up for my pattern, which I happily shared, and then shared his own variation back with me.  I had created my pattern as a 18″ or so PDF which could be printed onto multiple sheets using registration marks.  My buddy Andrew suggested using this software by WoodGears.CA and it’s use of diagonals would help.  Tim had split up the pattern I created.  Print-soprano-travel-ukulele-template1_013_overlap.pdf (5492 downloads )   If you use his, keep in mind you’ll need to double check the printed rulers against actual rulers to ensure proper sizing, since printing to the edge of the paper can sometimes interfere with that.
    2. I’m slightly jealous of Tim’s progress.  He went from “May I see your template?” to tweeting “Did you know that you can just build a musical instrument and no one can stop you?” in five days.  I’ve been working on mine for just over two months and am only now is the finish line in sight.  :)  This latest ukulele is Tim’s second attempt, with his first shared on his Instagram page.
    3. A few notes on Tim’s build:
      1. Tim posts a lot of cool stuff made from leather.  He made a neat “back plate” / soundbox for his ukulele from stiff leather to hopefully help amplify the sound.
      2. In his first build the turn around was a little wider than the wood he used, causing it to stick out and not lay flat.
      3. Like my own build, Tim cut the ukulele with a coping saw and the tuning pegs went in “wonky.”  He used a softer wood, which caused the strings to bite into the holes, which made the ukulele go out of tune.

What’s left?  Not much!!

  1. Allow the bridge brackets time to dry.
  2. Put the bridge in the brackets, brackets on the board.
  3. Add strings to it (which I’ve never done before!)
    1. This video suggests adding a little lubricant over the frets to prevent them from abrading the strings as they are tightened and paying attention to the rotation of the tuners as the strings are added.  I’ll watch the entire video again before I try.
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  1. Which is what I’m calling mistakes… [↩]

Fixing the Acer Aspire 5 Bluetooth Disappeared, Missing, or Not Working Issue with Windows 10 Update

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I own an Acer Aspire 5 and every time there’s a Windows update, the Bluetooth adapter stops working.  Working from home, noise cancelling Bluetooth headphones are a necessity.  This problem reoccurs infrequently enough that I don’t really remember how to fix it – but frequently enough that I want to make the next time I do it a lot easier.

  • Find the model number for your Acer Aspire by right clicking on “This PC” and looking for the model name and number under “Device specifications.”
  • Download the latest drivers from Acer’s website by searching for the appropriate model number.  Mine is here.
  • Install these, if you want, but the only thing that really helps is uninstalling the Acer Quick Access utility.  All the above steps didn’t do much for me.  This one step plus a restart immediately fixed the problem.

    Step One: Uninstall Garbage

    Step One: Uninstall Garbage

  • Okay, well, that lasted all of a few days.  The Bluetooth adapter again blinked out.  I did all the nonsense (resinstalling drivers, uninstalling Acer garbage, restarting, etc), but this fix worked for me instantly after the prior one failed me.  Open “Device Manager,” scroll all the way down to “Universal Serial Bus controllers,” right click on “USB Root Hub (USB 3.0),” click “Disable Device,” let the screen refresh, then “Enable Device.”  When it popped back, the Bluetooth icon was back!
    Disable, Enable the USB Root Hub!

    Disable, Enable the USB Root Hub!

     

  • I have to go through some variation of this process, Windows breaking my Bluetooth drivers, every few weeks/months.  Just long enough for me to forget the optimal way to restore these.

Anyhow, I hope that fixes it for you too!

Building a Travel Ukulele: Plancratineering

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It’s a word I just made up from “planning,” “procrastinating,” and “engineering.”

I suppose it’s also a form of mid-project optimization.  As I get closer to the finish line of this project, other ways to improve or embellish pop into my mind and won’t leave me alone until I sketch, model, research, build, and/or blog them.

  • Hardware.
    • Initially I bought the cheapest hardware possible, stainless steel or zinc plated stainless steel.  However, without a big jump in price, I could “upgrade” to using black oxide coated stainless steel for a more uniform and understated look.
    • To start this project, I went with two #10-24 stainless steel machine screws and two matching nuts was only $0.52 and came with free shipping from Home Depot.1
    • “Upgrading” to black oxide screws through BoltDepot.com is more expensive, but still an inexpensive addition.  The cost of two #10-24 black oxide coated machine screws and matching nuts is $0.64.  I could even swap in chrome plated machine screws and matching nuts, for $6.68, which would look pretty cool.  Their shipping cost is basically $5 for small packages such as this.
    • I suppose if I was somehow swamped with demand for custom 3D printed turn arounds, bridge brackets, strap buttons, and hardware, I might try bulk-ordering from BoltDepot.com or McMaster-Carr for a discount and then putting together kits.  I do not anticipate this happening any time soon.  :)
  • Strap Buttons.
    • I don’t have a strap to go with my ukulele, but I’d either make or buy one if it was really working out.  Strap buttons are relatively cheap as an off-the-shelf item ranging from $5 – $15 depending on how fancy they are.  However, I’ve made an effort to keep everything as “DIY” as possible.  Once done, I think the only off-the-shelf instrument items will have been the strings and tuners.
    • All the strap buttons I’ve seen appear to be very similar.  They’re just little tapered cylinders with a hole for a screw to go into the wood.  These would be very easy to design, print, sand, and paint to look really nice.  And, best of all, there are tons of websites which show cross sections and dimensions of many different variations for these buttons.2  The only real decision, of course, is what color.  Black, nickel, or chrome seem to be my knee-jerk preferences.

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    • I looked at these various options, considered the size of my project, constraints of 3D printing design, and came up with a model that I felt would look really nice once it was sanded, sanded, sanded, sanded, sanded, and painted, sanded, and painted. 3  Each button costs about $0.03 worth of plastic to print, using about 1.1 grams of plastic.  That’s a pretty good deal if you completely discount my time.  :)  Something I did not realized until after I had waited 7 minutes for a high polygon version of this design to render was that once I printed and quadruple sanded the printed button, it wouldn’t matter how detailed the model was.  After that, I dropped the facets by a lot and had renders done in about 15 seconds.

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    • The ones I’ve printed seem to look nice.  I’ve printed 5 in all.  I figure I’ll sand4 two of them, paint them, and see how they look.  If they’re anything like the turn around, I’ll be very happy with them.  Two extras are in case I don’t like the look of the black strap buttons and want to see what it looks like with some silver spray paint.  The last one is in case I find a way to really screw up one of the others.  Worst case scenario, I give away or sell these, I suppose.
  • Strap.
    • There are a bazillion ukulele straps out there.  I just added one to my wish-list, the “Hug Strap” by Melissa Nannen for use with my regular ukulele.
    • However, for this ridiculously DIY and handcrafted project, I’d want even the strap I use with the 3D printed buttons to be a DIY item as well.  I have a sewing machine, heavy duty thread, thick nylon seatbelt material in black and dark gray, and several different thicknesses of black and gray ballistic nylon like you’d see in camping gear or a heavy duty backpack.  I’m pretty sure I could whip something up.
  • Turn Around.
    • I’ve now made several different turn arounds.  There were two or three iterations just to get the width and sizing properly calibrated.  Then I made a silver one, followed quickly by a black one.
    • Then I remembered I had thought of a few ways to make a fully round one.  The fully round one would have a slight seam that would probably disappear once it had been sanded and painted, but half of it would have to be printed with support structures, possibly making it a little rougher to begin with.  Though, there are several design tricks to minimize these issues.  It could be designed with a larger and a smaller side or perhaps with two identical halves that fit together.

      Two sketches of ideas for 3D printed two-part turn arounds

      Two sketches of ideas for 3D printed two-part turn arounds

    • Now, turn arounds with beveled edges and grooves at 45 degree angles could be printed on their ends, but these introduce several potential problems.
      1. Printing on the end makes it harder (though not impossible) to include captive nuts.  You could create slots for the nuts to be dropped into – or pause the print and drop nuts into the model as it’s being printed, permanently embedding the nuts into the model.  This could actually work really well, now that I think about it.  Of course, cleaning the threads for the nuts if they get plastic in them or other debris would be difficult, but it might be worth the one-time extra design / printing effort.
      2. Printing on the end changes the direction of the 3D printed layers.  A print tends to be slightly stronger and be less likely to “delaminate” when forces are applied along the “grain” rather than against the layers.  Simply put, over tightening a turn around that was printed “laying down” is less lightly to cause a problem than a turn around printed on one side.
    • What I like about the current turn around is (a) it’s already done and (b) I kinda like how you can just barely see the captive nuts inside.  This doesn’t actually detract from the look for me.  What I like about the idea of a “fully round” turn around is that it may look “cleaner” and more “professional.”  I realize the  ship sailed on the “professional” look the moment I took the coping saw to wood.  The two legs of the body aren’t even, the interior cutout is obviously not symmetrical.  That’s not to say it looks bad – it just looks… unique.
  • Fret Markers.  I have not given up on fret markers.  I watched an interesting video showing how someone laid out the correct spots, tested the materials, and inserted their fret markers.  I gave some thought to how I would add my own.  It occurred to me I could use 3D printed markers printed on double axis diffraction grating in a technique pioneered by David Shorey.  I think some “raw” silver PLA embedded with diffraction grating patterns would look really nice.
  • String Winder.  I printed a String Winder from Printables, but the winder was too small for the tuners on my ukulele or the ones I have test-fit into the project wood so far.  I designed a new one in OpenSCAD, printed it and put it to use.  I designed another as a “bonus” feature for my recent Instructables entry in the “Make a Tool” contest.

Lastly, as I get ready to turn in for the night, I realized I got a lot of little things on or for the ukulele done this weekend – but still haven’t finished designing my ideas for the new bridge bracket.  I don’t really mind.  I feel like I’m still making progress, still moving the project forward, albeit slowly.  Again, I’m not really in a rush here – I’m enjoying the process immensely.

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  1. Actually, the pack of 5 screws and 5 nuts was $1.28 [↩]
  2. There are lots of options on AliExpress, Amazon, and Walmart, but they don’t need the SEO juice just for me to show you a few examples [↩]
  3. Why do I keep putting my sandpaper away, knowing full damn well I’m probably going to need it again really soon? [↩]
  4. Etc [↩]

Building a Travel Ukulele: So Much Experimentation, Bridges, Printing, and Sanding

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I’ve been lightly working on the ukulele before work in the mornings over the last week and today (Saturday).  I feel like the finish line is finally in sight.  So much so that I watched a video on how to string a ukulele.  My plan is to replace the strings on my regular uke and put the old ones into this DIY travel ukulele.  I’ve never replaced these strings on my ukulele and a close inspection of the strings reveals they are visibly worn under the first four frets or so.

Anyhow, before I turn to build progress…

I'm going to have to science the shit out of this

I’m going to have to science the shit out of this

  1. Wood Finishing.
    1. I did put a fourth coat of finishing oil, sanded with 1500 grit, dried, buffed with a paper shopping bag, and added two coats of wax.  I was curious how much finishing oil and wax I used.  Since I didn’t measure the oil before I started, I’ll extrapolate from the weight of the wax.

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    2. Before using the wax, the bottle weighed 3.235 oz.  Thus, I used about 0.096 oz of wax1 and approximately 0.173 oz of oil.  This suggests a pair of these bottles should last someone for a little more than 17 similar travel ukuleles.

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  2. Paint Tests.
    1. I have been thinking about fret markers and how I want these to look.  I thought it might look nice to have them in the silver spray paint, but the wood has four coats of finishing oil and several coats of wax.
    2. Thus, I pulled out a trust pieces of scrap wood, sanded it with 120, 150, 400, and 1500 grit sandpaper, (finishing oil + 1500 grit sandpaper) x 4 times, then two coats of wax.  I did this in 95 or so degree weather, so each coat dried very fast as I rubbed / sanded each one in.  A true test would have been to let it dry for hours, but this was just to get a sense of whether it was feasible to spray paint sand finished wood.
    3. After I had “finished” this small bit of scrap wood, I sanded all those layers and hard work off of part of it.  I used a hole puncher to cut small circular holes in some blue tape, put a piece down over the finished area and another over the finished + sanded area.
    4. This was spray painted silver, dried, and the tape peeled off.  This is a very small sample and sample size, but the blue tape over the finished and unsanded area seemed to bleed into the grain while the blue tape of over the finished and sanded area didn’t bleed at all.

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  3. Bridge Bracket.
    1. I need a way to install the bridge.  Ideally, I would have a little metal bracket like Dan’s models.  Then again, I have a 3D printer, which means the solutions to all my problems can usually be solved with PLA.  I designed a very small bracket and test fit it over the steel rod.

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    2. It occurred to me that I’m not really sure what “color scheme” I want.  I have lots of colors of plastic, a few colors of spray paint, and lots of other color paints.  Time to experiment!
    3. I thought back to a quote I think about sometimes when I’m 3D printing things.  “First rule in government spending: why build one when you can have two at twice the price?”  S.R. Hadden from the movie adaptation of Carl Sagan’s Contact.  If I’m already running my 3D printer, why not print a few extras and try out all the permutations?

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    4. I generally like to measure 3D printed things in grams, since it makes it easy to convert to kilograms, and estimate the cost to produce parts.  Unfortunately, I had left the digital scale in “oz” mode.  Running the numbers, the brackets are 1.05 g per pair (about $0.03) and the turn around was 5.61 g (about $0.14).  The weight and price estimates don’t include minor support structures, the plastic skirt to prime the extrusion, electricity, or amortized cost of the robot but these probably wouldn’t add more than a penny or two to each part.
    5. I wasn’t sure whether the silver and black paints would stick well or cover up the imperfections in in the parts, so I printed four sets of the brackets.  I would sand two sets, then spray paint one of each type with silver and one of each type with black.
    6. I set out the bridge brackets on some scrap cardboard on top of looped blue tape and hit it with some spray paint.

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    7. It will surprise no one, but the sanded parts look a lot better.  Based upon the time stamps on the photographs, I would estimate it took an hour to sand the little plastic parts.  One side effect of sanding parts this small is that I frequently had to hold them in my fingers as I sanded them and my right index finger is a little bit raw.  I think if I only sanded the small parts with my finest sandpaper, this might not have happened.  By the time I was done, I was already leading towards the black hardware.
  4. Assembled.
    1. Some photographs of the final hardware options – the silver/black bridge brackets and silver/black turn arounds.

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  5. A teeny tiny issue…
    1. I designed the bridge bracket without actually having screws to go into them.  I took the measurements from the screws for the tuners.  This means I need to use one of those screws or find two more small screws of about the same size.  This is not as easy as it sounds.  Unless…
  6. Swapping Hardware / Cosmetic Issues
    1. Nuts and Bolts.  The bolts and nuts I have are fine.  Shiny inexpensive metal, they proved the concept for my turn around, but aren’t exactly what I want.  As I took the assembly photos, I couldn’t help but think back to my search for black oxide parts.  I can find some black oxide imperial hardware that is inexpensive through BoltDepot.com, but the bolts are only up to 1.0 inches instead of the 1.25 inches I’m using.  This isn’t a huge problem since the plastic turn around is almost certainly far stronger than it needs to be.  I can even get black oxide nuts to go with them.  The wood screws for holding the bridge in place is a little trickier, but they have these too.  The total price tag for several duplicates of these parts is well under $5 with another $5 for shipping.  On the other hand, I could go with McMaster-Carr and get the exact size, shape, color, and head for these parts, including the nuts, but it would cost about $30 plus an unknown shipping amount.
    2. Bridge.
      1. When steel is really heated up, it can get a bluish tint to it.  The bare metal bridge is “okay” but doesn’t wow me.  I’m tempted to play with this before I install it.  For a minute I was also tempted to get some “Super Blue” to turn the steel rod black.  :)  This is a ridiculously frivolous expense for a very slight cosmetic change.  I can’t justify a $14 expense to change the color of the metal bridge.  Chances are I could just sand and spray paint the stainless steel rod with the black spray paint for the same net effect for no additional cost.  Of course, this would also mean hacking a test piece off the nearly 33 inches of zinc plated rod I still have and then testing it with some flames and/or spray paint, but this isn’t so bad.
      2. Then again, I could also try out styrene rods (but it looks like they’re all white) or carbon fiber rods (tend to be pricy).
      3. As I’m thinking about this another design for the bridge bracket popped into my mind.  It has the bonus of not putting extra visible holes into the wood, not affixing the bridge in an obvious way into the wood, and would make it easy to swap out bridges or even bridge diameters if I felt like it later on.  The only “downside” is that it would require a larger hole drilled into the thin wood of the sides of the ukulele.  A sketch:

        What's really on the back of the Declaration of Independence

        What’s really on the back of the Declaration of Independence

      4. With this design, the strings would keep the bridge pressed down, which would keep the bridge brackets pressed down, but since they are pressed down, the brackets can’t slide off.  If I ever wanted to swap out the bridge, I would just need to loosen the strings, lift one bracket off it’s peg, and then remove and replace the bridge.  I don’t see any reason why the vertical peg I drew above couldn’t be part of the design of the bracket too.  There are a few minor problems with this plan:
        1. I would have to take my drill to the ukulele again… after I’ve spent so much time sanding, sanding, oiling, sanding, sanding, sanding, oiling, sanding, sanding, buffing, sanding, sanding, sanding, sanding, sanding, sanding, oiling, sanding, oiling, sanding, sanding, waxing, buffing, and waxing.
        2. I would have to redesign, print, sand2 , and paint the new brackets.  This doesn’t really bother me so much.
    3. Tuners.  There’s an event coming up and this time and I put new tuners on my list.  This feels wasteful to me since I have literally never used the $7 tuners I got off Amazon (you see them in every photograph of the assembled ukulele).  At ~$33 the GraphTech tuners are small, lightweight, wouldn’t protrude below the ukulele body, flat black, and even used by Daniel Hulbert himself.  This feels like a bit of a splurge – but one that’s worthwhile.  Normally I don’t want anything for my birthday except to spend time with loved ones, but this year it’s one of two things I’ve put on my list.3

Okay!  What’s up next?

  1. Redesign the bridge brackets.  Print, sand, paint.
  2. Drill holes in the wood (shudder) for the new bridge brackets.
  3. Drop in the bridge and bridge brackets.
  4. Stings
    1. Play my ukulele one last time, sore fingers permitting.
    2. Remove and replace the strings with the new ones I have ready to go.
    3. Put the old strings into my travel ukulele!

By gum, I might well have this finalized tomorrow!!!

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  1. With some of it getting on my hands, the cloth, gloves, and a drop here or there on the surrounding cardboard [↩]
  2. With, you guessed it, 120, 150, 400, and 1500 grit sandpaper [↩]
  3. Both ukulele related, haha [↩]