The official remix of the single features Twista and Do or Die. The music video for this song was directed by Hype Williams and it was released on October 16, From Wikipedia, the free encyclopedia.
Retrieved May 10, Les classement single. GfK Entertainment Charts. Dutch Top 40 Retrieved May 11, Single Top Swiss Singles Chart. Official Charts Company. Australian Recording Industry Association. Retrieved May 11, Busta Rhymes. Discography Production discography. These pieces get softened with a hairdryer and taped into the ledge too cool. The bindings are rough cut with a band saw Neck Breakin (LG Remix) - Jehst - The Mengi Bus Mix Tape (CD) mitered on a disc sander with grit paper.
Each piece must be carefully and slowly brought down to size. I have a jig that aids in keeping the miter angles dialed in, but it is not fail safe and close attention need to be paid at all times to maintain perfect intersections and proper sizing. This is the type of joint I am aiming for, perfect angles and tight fitting. After the binding is cleaned up, it is time to drill for tuners. This jig registers on the side of the headstock and at the nut seat for ease of placement and has interchangeable drill guide bushings to account for different makes of tuners.
I use the same jig flipped over for the treble side. Now that the headstocks are bound and drilled, it is time to inlay the Maguire trinity logo. The ring around the trinity is cut on the milling machine with a rotary table. Here is the set up I use on my Sherline mini-mill I love this machine. First I cut the outside diameter.
I do this in 3 passes, first pass is. This 3 past method leaves a perfectly smooth edge, with no chipping or bit deflection. Then I cut the inside diameter with the same 3 Neck Breakin (LG Remix) - Jehst - The Mengi Bus Mix Tape (CD) method. This one is a beautiful piece of chocolate mammoth ivory.
Creating the radius channel for the ring to seat in is done with my shop made inlay router fitted with the radius cutting base. Here is a shot of the router.
And here is the router in action. This is the jig that the woven trinity pieces are cut on. In the foreground is the underside of the jig with the brass trinity templates epoxied to a Plexiglas jig plate that is screwed on to the bottom of the jig. A brass pin on the table of the milling machine rides the templates to form the shape in the blanks being cut.
The blanks are seen above the jig, CA glued to a Lexan jig plate that will screw onto the top of the jig. Here is the pin table setup on the milling machine. In essence this table converts The milling machine into a miniature pin router. The pin and end mill are both. Here is the jig in action. This photo should say it all as far as how this system works. You can also see surgical tubing attached to the back of the jig.
The tubing is attached to a vacuum and mates with slots milled in the bottom of the jig. These vacuum slots act as a hold down of sorts and stabilize the jig while in action, making for smoother cutting.
There is also surgical tubing that suspends just behind the bit for dust extraction and bit cooling, also making for smoother cutting but mostly to keep the carcinogenic pearl dust out of the air. The cutting is done. Now I remove the topside Lexan jig plate, give it a good flex and the pieces of pop off and are ready to meet the rings that were cut earlier. After a little finessing of the tips with a small grinding stone, set up on the milling machine, the trinity pieces meet the ring.
Now for the inlaying. I made a surrogate ring out of UHMW plastic that snaps right into the ring pocket to aid in perfectly locating the woven trinity pieces in the center of the ring with the points just barely touching the ring itself.
Surrogate ring removed and ready for scribing. Oops I think this one got 2 drops of CA. The final perimeter cuts are made with miniature carving tools.
Several swift pushes of properly radiused carving tools gets me the tight fit I am looking for. The points where the trinity pieces meet the ring are sort of nibbled away with a modified X-Acto knife blade that is also used for the scribing step above. Gentle thumb pressure brings the pieces home into the cavity. Nice and tight but not too tight and no need for filler.
Here is one in MOP on Brazilian rosewood. Now the fretboards can be glued to the necks. Below is a duel purpose jig used for locating the fretboard and establishing the cheeks of the neck tenon.
The drill guide bushings are to drill for the toothpick locating pins. The tenon cheeks are shaved down with a spiral flush trim bit, seen here as well. After shaving, the cheeks are about. Same jig, flipped over to drill mating holes in the fretboard for the locating pins. I harden the toothpicks with CA glue to avoid lateral compression during the glue up.
Here they are sticking out of the backside of the fretboard. Hot hide glue here. Gotta work fast and deliberate. I do this with cauls under the fretboard and on the back of the neck. This spreads out the clamping pressure and minimizes the amount of clamps necessary to get the job done. Less clamps equals less time, and with only about 60 seconds of open working time, every second counts.
I have managed to get this operation down to about 53 seconds…after a very deep breath. After the glue up… Here you can see, in a little more detail, the cauls mentioned above. Firstly, the whole operation happens on a granite surfacing block which establishes a dead flat surface. The caul on the back of the neck is a squared off v- shape which puts the pressure on the outside of the neck and has a little bit of give to conform to different neck profiles. The caul under the fretboard has 2 specific profiles.
The surface mating with the granite has a roughly. This introduces a slight forword bow to the neck that, when removed from the clamps, settles out to between. I like tight fret slots, so the frets act like little wedges when installed.
Each one individually has very little effect on the overall plane of the neck, but 22 little wedges can add up to a problem. After fretting, this forward bow works out to about. A little torque on the truss rod and the neck is again dead flat, with just the slightest bit of tension. Just right! Here is a Meridian fretboard glue up. You can see that this is an entirely different approach. With the thru-tenon neck design of these guitars, the fretboard glue up has to happen after the neck and body have met.
This makes for somewhat of a cumbersome beast to contend with. They have almost no weight and apply the pressure right where it is needed.
Without cauls to spread out the force, more clamps are needed, but they do a great job, provided that the gluing surface is dead flat. The foreword bow is introduced here by simply propping up the back of the headstock with a super high tech stick, as seen in the photo. At the end of the fretboard you can see a few small f-style clamps. These clamps also clamp the entire guitar to the form, allowing the prop stick to flex the neck appropriately without simply pushing it out of the form all together.
And The Meridian semi hollow bodyafter glue up. The neck angle on the thru tenon Meridian necks had been established since the chassis went together several steps back. I do this on the router skimmer with the neck attached to an angled sled. With the fretboards on and the angle Neck Breakin (LG Remix) - Jehst - The Mengi Bus Mix Tape (CD), it is time for final neck shaping. Here are a couple shots of a set neck before shaping. The shaping jig has done most of the work but there is still a little material to remove to get to the final dimensions, Neck Breakin (LG Remix) - Jehst - The Mengi Bus Mix Tape (CD), mostly in the headstock transition and heel transition areas.
The headstock transition was rough carved earlier in order to facilitate the gluing of the fretboards, but some final shaping and sanding is still in order. My Meridian series features my thru-tenon neck, which is a sort of hybrid of a neck thru body and a set neck.
When carving these guitars, I carve the neck profile all the way to the very end of the fretboard, the heel and cutaways then merge into the neck profile. This sort of 3-d shape convergence can only be done by hand and it takes a considerable amount of time and patience. The payoff for this time consuming task is a very responsive, resonant and comfortable neck. This is the defining feature of the Meridian. Here are some photos of the semi hollow body before carving. You can see where some preliminary carving has taken place in the transitional areas in order to facilitate fretboard gluing.
Here are the tools that I use for this. Shots below are of the heel Neck Breakin (LG Remix) - Jehst - The Mengi Bus Mix Tape (CD) a more defined shape before proceeding to the neck profile and cutaways. Here are a few shots of a Meridian Solid Body.
Sandsturm In Der Wüste - Ibo (2) - Ibo`s Hitbox (CD), Bullet Biter, Claus Böhmler - Materialien Zur Postmoderne In Bild Und Ton (Vinyl), Warm Water - Lucky Soul - A Coming Of Age (CD, Album), Crazy (12 Almighty Mix) - Carolyn Winters - Crazy (CDr), II - Arvydas Malcys - Išlaisvinti Daiktai = Liberated Things (CD, Album), Stepping Stones - Bert Jansch & John Renbourn - Bert And John (Vinyl, LP, Album), Mario Piu* - Communication (Vinyl), The Beatles - Beatles 65 (CD, Album)