Ernie Ball Guitars Woodshop Facilities Redesign

Total Page:16

File Type:pdf, Size:1020Kb

Ernie Ball Guitars Woodshop Facilities Redesign ERNIE BALL GUITARS WOODSHOP FACILITIES REDESIGN by CAMERON LEA SCHLEMER A senior project submitted in partial fulfillment of requirements for the degree of Bachelor of Science in Industrial Engineering California Polytechnic State University San Luis Obispo Graded by: ________________________ Date of Submission: _____________ Table of Contents Table Of Figures....................................................................................................................................... 2 Executive Summary ................................................................................................................................. 3 Introduction ............................................................................................................................................ 4 Background ............................................................................................................................................. 6 Literature Review .................................................................................................................................... 7 What is facilities design?...................................................................................................................... 7 Why do a facilities design?................................................................................................................... 8 How to do a facilities design? .............................................................................................................. 9 What are the objectives of a facilities design?.................................................................................... 10 How are guitars/bass manufactured? ................................................................................................ 11 Design ................................................................................................................................................... 14 Define Departments .......................................................................................................................... 16 Define Relationships .......................................................................................................................... 18 Develop Alternative Layouts .............................................................................................................. 20 Methodology ......................................................................................................................................... 23 Results .................................................................................................................................................. 26 Economic Justification ....................................................................................................................... 27 Implementation ................................................................................................................................. 28 Conclusion............................................................................................................................................. 30 Appendix 1: Manufacturing Procedures ................................................................................................. 31 Appendix 2: Original Flow ...................................................................................................................... 33 Appendix 3: Department Definition ....................................................................................................... 36 Appendix 4: Relationships ..................................................................................................................... 38 Appendix 5: Layout Development .......................................................................................................... 39 Appendix 6: Evaluation .......................................................................................................................... 44 Appendix 7: Project Management ......................................................................................................... 47 Appendix 8: Works Cited ....................................................................................................................... 48 Table Of Figures Figure 1. Original Flow ........................................................................................................................... 15 Figure 2. CNC Machine Location ............................................................................................................ 17 Figure 3. Neck Activity Relationship Diagram ......................................................................................... 19 Figure 4. Body Activity Relationship Diagram ......................................................................................... 19 Figure 5. Alternative C: Separated ......................................................................................................... 22 Figure 6. Alternative B: Least Forklift Travel ........................................................................................... 22 Figure 7. Alternative A: Least Change..................................................................................................... 22 Figure 8. Flow to Travel Transition ......................................................................................................... 25 Figure 9. Original Neck Manufacturing Flow .......................................................................................... 33 Figure 10. Original Neck Manufacturing Flow......................................................................................... 34 Figure 11. Original Combined Manufacturing Flow ................................................................................ 35 Figure 12. Original Departments ............................................................................................................ 37 Figure 13. Body Space Relationship Diagram.......................................................................................... 38 Figure 14. Neck Space Relationship Diagram.......................................................................................... 38 Figure 15. Raw to Blank Department Layout .......................................................................................... 39 Figure 16. Body Fadal Department Layout ............................................................................................. 39 Figure 17. Trace, Kiln, Store Department ............................................................................................... 39 Figure 18. Layout Fretwork Department Layout ..................................................................................... 39 Figure 19. Alternative A: Least Change Layout ....................................................................................... 40 Figure 20. Alternative B: Least Forklift Travel ......................................................................................... 41 Figure 21. Alternative C: Separation....................................................................................................... 42 Figure 23. Alternative B Flow ................................................................................................................. 43 Figure 22. Alternative A Flow ................................................................................................................. 43 Figure 24. Alternative C Flow ................................................................................................................. 43 Figure 25. Project Gantt Chart ............................................................................................................... 47 Figure 26. Work Breakdown Structure ................................................................................................... 47 Executive Summary This report details a facilities design for Ernie Ball’s guitar and bass guitar manufacturing facility in San Luis Obispo, CA. Specifically, this project will redesign the layout for the Woodshop, the largest of the 5 manufacturing cells in the facility. This project was completed using the Systematic Layout Planning procedure and focused mostly on phase II and III in which the specifics for a layout are determined, however, space requirements were not evaluated as it was not within scope. The first step was to develop departments in the facilities, two master departments were identified for the neck manufacturing process and the body manufacturing process. Within each of these, smaller departments were identified, five in the body department and nine in the neck department. These departments were then organized within the walls of the facility using an Activity Relationship Diagram. Three alternative layouts were generated. The first is called Alternative A: Least Change, then Alternative B: Least Forklift Travel and finally Alternative C: Separated. These layouts were evaluated according to metrics developed with input from the client. Analysis determined that Alternative A: Least Change was the best choice. There is a cost of $2400 associated with implementing this change, and with a savings of 460 feet, it will be paid back in 9 months. Introduction This project, in partial completion of degree requirements for a Bachelors of Science in Industrial Engineering, has been performed at Ernie Ball, Inc., a company whose electric guitar and bass manufacturing
Recommended publications
  • Voyage Air Vad-2 $2,699 Acoustics
    VOYAGE AIR VAD-2 $2,699 ACOUSTICS When this is removed, the remaining guitar would quite Voyage Air comfortably fit in overhead storage on an aircraft. Folded down, the hinge is VAD-2 $2,699 exposed at the 14th fret and sits directly under the rosewood It folds, but how does it sound? fingerboard. The entire neck joint has actually been cut by Kris Petersen through and rejoined via a single pin and a hand tightening screw that doubles as a strap join. While this probably ith acoustic guitars even opened the box. Arriving case itself consists of two sounds extremely odd, when there really aren’t an in what appeared to be a 2 x 12 sections. The main guitar bag the guitar is once again in one Wamazing number of combo box, the Voyage Air includes a tough contoured piece, the join isn’t noticeable, original ideas throughout guitar was delivered folded outer shell and a detachable visually or when being played. history – but then again we are down and snug in its case. The manuscript/laptop/leads bag. While the majority of the talking about an acoustic guitar. guitar appears to be a well The test of time has allowed crafted instrument consisting this instrument to remain “… in recent times, the need for of a solid sitka spruce top, a solid relatively untouched as a instruments that are portable has rosewood back and sides, a perfect example of the ‘if it ain’t rosewood fingerboard,g oard, aandnd aann broke don’t fix it’ mantra. become more demanding.”g ababalonealone centre ring, a fret However, in recent times, the need for instruments thathat areare portable has become moreore demanding.
    [Show full text]
  • Ernie Ball Strings
    Ernie Ball Strings Ernie Ball Strings Why don't you provide tension information for your strings? Although we do not have published tension values on our website, we are happy to assist you with any technical questions that you may have. In some cases, published string tensions can be misleading or inaccurate depending on the situation. String tension is only one of many important factors that can go into determining the right strings for your instrument and will differ based on scale length and tuning. Furthermore, the perceived tension can be quite different than the theoretical tension as a string's flexibility and responsiveness can be affected by even more factors including string construction, instrument setup, and bridge type. We err on the side of not oversimplifying each string to a number, but we are glad to assist you with these sorts of technical inquiries based on your individual needs. Ernie Ball Strings I experienced a problem with your strings. What should I do? Here at Ernie Ball we employ strict quality control standards and are committed to producing the highest quality musical instrument strings. Unfortunately there are many factors that can lead to a shorter string life. String attack, pick thickness, and finger oils are just a few factors that contribute to some players breaking more strings than others. Most strings break around the bridge. If this is happening repeatedly, you might need to replace the saddles. When the string is tightened, the saddle is the point at which the string makes the most contact and has the most tension, therefore needs special attention.
    [Show full text]
  • Arbiter, July 13 Students of Boise State University
    Boise State University ScholarWorks Student Newspapers (UP 4.15) University Documents 7-13-2005 Arbiter, July 13 Students of Boise State University Although this file was scanned from the highest-quality microfilm held by Boise State University, it reveals the limitations of the source microfilm. It is possible to perform a text search of much of this material; however, there are sections where the source microfilm was too faint or unreadable to allow for text scanning. For assistance with this collection of student newspapers, please contact Special Collections and Archives at [email protected]. Cleveland ''The~rrior" Corder Peg Blake resigns, I Wheeler to continue t. as interim Vpi BY RANDALL P05T News Editor Cut locks and computer 'accessorles were strewn abo~t th~ VIllage aparlments computer lab after a break-In on June 20. PHofo BY RANDAll. POSTmlE ARBITER PHaro CDUlmSY UNIVERSITY RELATIONS many milestones, including the completion of a 40-child addi- Computers stolen from Village tion to the Children's Center, de- velopment of an expanded New Student Orientation Program, co-chairing with BSU Provost Sona Andrews on the Preshman apartments -lab, no arrests made Success Task Force, and cham- pioning the $8.5 million Student BY 5ARA BAHN50N the 24-hour lab was closed..The lockedat all times. can be entered ServicesBuildingand a $12.5mil- ASSistant News Editor BSUPolice Department believes through the use of a traditional lion Student Health Wellness and that four all-in-one computers, to keyor a student 10 keycard. Counseling facility. Four computers were stolen which the computer unit and the Video surveillance of the com- "She.will certainly be missed from the Boise State University monitor are attached, were stolen puter lab was in use at the time and was a tireless advocate for the Villageapartments' computerlab by the man follo~ing thedepar- ." of-the theft, but images gathered shideiftii IoZiiiik..:Siiiif"':)' V .
    [Show full text]
  • Roger Sadowsky Interview, Bass Guitar Magazine UK
    ROGER THAT 028 BASS GUITAR MAGAZINE 028-030 Sadowsky_rev3JH.indd 28 13/07/2015 18:17 BASSISTS ROGER SADOWSKY Roger Sadowsky, one of the world’s leading bass luthiers, stopped by at the London Bass Guitar Show to talk to Mike Brooks about his bass building philosophy stroll around Olympia during the “I recommended a good fret job, shielding the London Bass Guitar Show can be electronics, a better bridge and a preamp – actually, a noisy experience to say the only the second bass preamp I had ever installed. I was least – yet on both days of this using a circuit by Stars Guitars from San Francisco, a year’s event back in March, group that had come out of the Alembic school. That’s A there was a tangible buzz: an what I gave Marcus – but within a year, they went out audible sound of hushed of business and Marcus’s preamp died! They told me mutterings between those in attendance. “It is him, when they were closing up that the closest thing to isn’t it?”... “Is that really him? Here in London?” what they were making was a Bartolini TCT preamp. Who could they have been talking about, you ask? I used that until 1990, when I wanted to create my Well, yes it was true – one of the premier luthiers outboard preamp box and Alex Aguilar [of Aguilar of the bass world was there at the London Bass fame] helped me to design my own circuit.” Guitar Show, and boy did Roger Sadowsky make a Back in those days, there was no internet or social splash.
    [Show full text]
  • Overview Guitar Models
    14.04.2011 HOHNER - HISTORICAL GUITAR MODELS page 1 [54] Image Category Model Name Year from-to Description former retail price Musima Resonata classical; beginners guitar; mahogany back and sides Acoustic 129 (730) ca. 1988 140 DM (1990) with celluloid binding; 19 frets Acoustic A EAGLE 2004 Top Wood: Spruce - Finish : Natural - Guitar Hardware: Grover Tuners BR CLASSIC CITY Acoustic 1999 Fingerboard: Rosewood - Pickup Configuration: H-H (BATON ROUGE) electro-acoustic; solid spruce top; striped ebony back and sides; maple w/ abalone binding; mahogany neck; solid ebony fingerboard and Acoustic CE 800 E 2007 bridge; Gold Grover 3-in-line tuners; shadow P7 pickup, 3-band EQ; single cutaway; colour: natural electro-acoustic; solid spruce top; striped ebony back and sides; maple Acoustic CE 800 S 2007 w/ abalone binding; mahogany neck; solid ebony fingerboard and bridge; Gold Grover 3-in-line tuners; single cutaway; colour: natural dreadnought western guitar; Gruhn design; 20 nickel silver frets; rosewood veneer on headstock; mahogany back and sides; spruce top, Acoustic D 1 ca. 1991 950 DM (1992) scalloped bracings; mahogany neck with rosewood fingerboard; satin finish; Gotoh die-cast machine heads dreadnought western guitar; Gruhn design; rosewood back and sides; spruce top, scalloped bracings; mahogany neck with rosewood Acoustic D 2 ca. 1991 1100 DM (1992) fingerboard; 20 nickel silver frets; rosewood veneer on headstock; satin finish; Gotoh die-cast machine heads Top Wood: Sitka Spruce - Back: Rosewood - Sides: Rosewood - Guitar Acoustic
    [Show full text]
  • ICA 2010 Paper
    Proceedings of the International Symposium on Music Acoustics (Associated Meeting of the International Congress on Acoustics) 25-31 August 2010, Sydney and Katoomba, Australia Experimental Approaches on Vibratory and Acoustic Characterization of Harp-Guitars Enrico Ravina (1) (1) University of Genoa, MUSICOS Centre of Research, Genoa, Italy PACS: 43.75.- z; 43.75.Gh ABSTRACT The paper describes the results of a research activity, still under development, oriented to the vibratory and acoustic characterization of harp-guitars. Vibration analyses show interesting differences between harp-guitars and classical guitars about displacements detected on the soundboard and on the bridge and their dependence to frequencies. Acoustic analyses detect very different responses of harp-guitars to various frequencies, showing also the different acoustic emission at sound holes. Comparisons between signals detected by external and surface internal micro- phones allow estimating effects of the acoustic damping in these particular instruments. INTRODUCTION later two designs are technically harp guitars with open strings. They were smaller in size as was fashionable at the Harp-guitars represent a separate and distinct category within time. Barry and Harley of London, excellent craftsmen, built the guitar family, are those most commonly and popularly these instruments for Light. Many of these table harp lutes, as referred to today as harp guitars. This particular category of they were called, are still around today. The desire for ex- instruments includes guitars with any number of additional tended range on a guitar was evident as composers, such as unstopped strings that can accommodate individual plucking. Fernando Sor (1778-1839) and Matteo Carcassi (1792-1853) The word "harp" is a specific reference to the unstopped open wrote music on a three necked, 21 strung guitar, called a strings, and is not specifically a reference to the tone, pitch hypolyre.
    [Show full text]
  • Bass Guitar Owner's Manual Bass Guitar Configuration
    Bass Guitar Owner's Manual Bass Guitar Configuration 4 5 6 3 11 7 8 9 10 3 12 1. Volume 7. Position Markers 2. Tone Controls 8. Fret 3. Strap Button 9. Fingerboard 4. Bridge 10. Nut 1 5. Bridge Pickup 11. Tuning Keys 2 6. Neck Pickup 12. String Retainer Control Configuration blend treble tone bass volume bridge volume treble tone neck volume neck volume bridge volume tone Congratulations So, you are the owner of a new Peavey Bass Guitar. Congratulations! Your purchase proves your taste in musical instruments is superb. Peavey offers a wide variety of bass guitars for beginners to professionals, each with unique qualities and features. While our professional luthiers have carefully inspected your guitar, every model requires some initial setup, and periodic maintenance is required for peak performance. To ensure proper care of your quality instrument, visit www.peavey.com/accessories for Peavey-recommended accessories, parts and cleaning supplies. Cleaning & Care When properly cared for, your Peavey bass will offer you years of pleasure. Playing your bass means that you will need to perform regular, general maintenance, such as cleaning and proper storage, to keep it looking and sounding great. Every time you play your bass, body oils and perspiration are transferred to the body, back of the neck, headstock, fingerboards, strings, tuners, pickups and bridge. After you finish performing, but before you put your bass away, take a moment to remove these contaminants. Cleaning - Wood To clean and care for the major wood parts of your bass guitar (body, headstock and the back of the neck), Peavey recommends that you use a clean, soft, lint-free, dry cotton cloth and the specially formulated guitar polish available at www.peavey.com/acces- sories.
    [Show full text]
  • Music Great Guitar Gathering (DASOTA)
    JACKSONVILLE golfing in north florida entertaining u newspaper free weekly guide to entertainment and more | march 1-7, 2007 | www.eujacksonville.com 2 march 1-7, 2007 | entertaining u newspaper table of contents Cover photo courtesy of World Golf Village feature Golfing In North Florida .............................................................................PAGES 19-23 movies Black Snake Moan (movie review) ...................................................................... PAGE 6 Movies In Theaters This Week .....................................................................PAGES 6-11 Craig Brewer interview (Black Snake Moan) ........................................................ PAGE 7 Seen, Heard, Noted & Quoted ............................................................................. PAGE 7 Reno 911!: Miami (movie review) ....................................................................... PAGE 8 Zodiac (movie review) ........................................................................................ PAGE 9 Amazing Grace (movie review) ....................................................................PAGE 10-11 at home The Departed (DVD review) ............................................................................. PAGE 14 2007 Academy Awards (TV Review) ................................................................ PAGE 15 Video Games ................................................................................................... PAGE 16 food Murray Bros. Caddy Shack .............................................................................PAGES
    [Show full text]
  • STEM Guitar Workbook
    InnovativeInnovative STEMSTEM EDUCATIONEDUCATION throughthrough GUITARGUITAR DESIGNDESIGN MANUFACTUREMANUFACTURE Faculty Professional Development In Design, Construction, Assembly and Analysis of a Solid Body Guitar Design NSF ATE DUE Grant 0903336 Copyright Policy Statement All rights reserved. Except as permitted under the principles of "fair use" under U.S. Copyright law, no part of this document may be reproduced in any form, stored in a database or retrieval system, or transmitted or distributed in any form by any means, electronic, mechanical photocopying, recording or otherwise, without the prior written permission of the copyright owner. “This material is based upon work supported by the National Science Foundation under Grant No. 0903336. Any opinions, findings and conclusions or recommendations expressed in this material are those of the author(s) and do not necessarily reflect the views of the National Science Foundation (NSF)." Exploring Innovative STEM Education Through Guitar Design and Manufacture Workbook (Version 1006.1) About Us Guitars in the Classroom? Absolutely. This National Science Foundation STEM Guitar Project provides innovative professional development to high school and community college faculty in collaborative design and rapid manufacturing. Faculty teams take part in an intense five day guitar design/build project. Each faculty member builds his/her own custom electric guitar and will engage in student centered learning activities that relate the guitar design to specific math, science and engineering topics. Participants leave this weeklong experience with their custom‐made guitars, curriculum modules that can be immediately integrated into the faculty teams school curriculum, and much more. Morning classroom sessions include the following: • STEM Learning Activities in the following disciplines: Physical Science, Math, Engineering, CADD, CNC, RPT, Reverse Engineering, etc.
    [Show full text]
  • Designing and Building an Electric Baritone Guitar
    Hendrik Gideonse Audio Research December 14, 2008 Designing an Electric Baritone Guitar 0 Anatomy of a Guitar ................................................................................................... 2 1 Introduction ................................................................................................................. 3 2 Baritone History .......................................................................................................... 3 3 Problems with Existing Designs ................................................................................. 5 3.1 String Tension ..................................................................................................... 5 3.2 Balance, Ease of Playing 1st Position Chords and Bridge Position .................... 7 3.3 Rigidity for Tone and Sustain ........................................................................... 11 4 Designing the Baritone Guitar .................................................................................. 12 4.1 Woods, Tone and Rigidity ................................................................................ 13 4.2 Angled Headstock and ‘V’ Neck Contour ........................................................ 16 4.3 Headstock Shapes ............................................................................................. 19 4.4 Joining the Neck to the Body ............................................................................ 24 4.5 Body Shape ......................................................................................................
    [Show full text]
  • Automatic Transcription of Bass Guitar Tracks Applied for Music Genre Classification and Sound Synthesis
    Automatic Transcription of Bass Guitar Tracks applied for Music Genre Classification and Sound Synthesis Dissertation zur Erlangung des akademischen Grades Doktoringenieur (Dr.-Ing.) vorlelegt der Fakultät für Elektrotechnik und Informationstechnik der Technischen Universität Ilmenau von Dipl.-Ing. Jakob Abeßer geboren am 3. Mai 1983 in Jena Gutachter: Prof. Dr.-Ing. Gerald Schuller Prof. Dr. Meinard Müller Dr. Tech. Anssi Klapuri Tag der Einreichung: 05.12.2013 Tag der wissenschaftlichen Aussprache: 18.09.2014 urn:nbn:de:gbv:ilm1-2014000294 ii Acknowledgments I am grateful to many people who supported me in the last five years during the preparation of this thesis. First of all, I would like to thank Prof. Dr.-Ing. Gerald Schuller for being my supervisor and for the inspiring discussions that improved my understanding of good scientific practice. My gratitude also goes to Prof. Dr. Meinard Müller and Dr. Anssi Klapuri for being available as reviewers. Thank you for the valuable comments that helped me to improve my thesis. I would like to thank my former and current colleagues and fellow PhD students at the Semantic Music Technologies Group at the Fraunhofer IDMT for the very pleasant and motivating working atmosphere. Thank you Christian, Holger, Sascha, Hanna, Patrick, Christof, Daniel, Anna, and especially Alex and Estefanía for all the tea-time conversations, discussions, last-minute proof readings, and assistance of any kind. Thank you Paul for providing your musicological expertise and perspective in the genre classification experiments. I also thank Prof. Petri Toiviainen, Dr. Olivier Lartillot, and all the collegues at the Finnish Centre of Excellence in Interdisciplinary Music Research at the University of Jyväskylä for a very inspiring research stay in 2010.
    [Show full text]
  • Reconfigured Geographies of Timber and Acoustic Guitar Manufacturing
    University of Wollongong Research Online Faculty of Social Sciences - Papers Faculty of Arts, Social Sciences & Humanities 2016 Resource-sensitive global production networks: reconfigured geographies of timber and acoustic guitar manufacturing Christopher R. Gibson University of Wollongong, [email protected] Andrew T. Warren University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/sspapers Part of the Education Commons, and the Social and Behavioral Sciences Commons Recommended Citation Gibson, Christopher R. and Warren, Andrew T., "Resource-sensitive global production networks: reconfigured geographies of timber and acoustic guitar manufacturing" (2016). Faculty of Social Sciences - Papers. 2538. https://ro.uow.edu.au/sspapers/2538 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Resource-sensitive global production networks: reconfigured geographies of timber and acoustic guitar manufacturing Abstract This article examines how resource materiality, scarcity, and evolving international environmental regulation shape global production networks (GPNs). Nature-facing elements, including resource scarcity and environmental regulation, have seldom featured in GPN analysis. So, too, GPN analysis emphasizes spatial relations between network actors over temporal change. We extend GPN theorization through a temporal analysis of industrial change, connecting manufacturing to upstream resource materialities and shifting regulation, and to downstream consumers increasingly concerned with provenance and material stewardship. To illustrate, we document a resource-sensitive GPN-acoustic guitar manufacturing-where scarcity of select raw materials (tonewoods) with material qualities of resonance, strength, and beauty, as well as tighter regulation, has spawned shifting economic geographies of new actors who influence the whole GPN.
    [Show full text]