DOCSLIB.ORG

Building a Basic Lap Steel Guitar by Friger on January 16, 2011

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Home Sign Up! Browse Community Submit All Art Craft Food Games Green Home Kids Life Music Offbeat Outdoors Pets Photo Ride Science Tech Building a basic lap steel guitar by friger on January 16, 2011 Table of Contents Building a basic lap steel guitar . 1 Intro: Building a basic lap steel guitar . 2 Step 1: Got wood? . 3 Step 2: Squaring things up . 4 Step 3: Laying out the head stock . 4 Step 4: Making the cut . 5 Step 5: Transition time . 7 Step 6: The head shape . 7 Step 7: Don't fret the small things . 8 Step 8: Time to pick it up a bit . 11 Step 9: Dealing with cavities . 12 Step 10: Control freak . 13 Step 11: The cover up . 14 Step 12: And sometimes "bleep" happens. 15 Step 13: Let's get wired . 15 Step 14: Getting a bit of bridge work . 16 Step 15: Boom! Head shot . 19 Step 16: The finish . 20 Step 17: And we are done. 22 Related Instructables . 24 Comments . 24 http://www.instructables.com/id/Building-a-basic-lap-steel-guitar/ Author:friger I live on the east coast of Canada. I have been tinkering and building things all my life and still manage to learn something new and exciting every day. Intro: Building a basic lap steel guitar In this, my first Instructable, I will attempt to chronicle the construction of a simple Lap Steel guitar. Disclaimer; power tools and sharp cutting tools will be used and I take no responsibility for people who use these things carelessly, read and understand manufacture's instructions and safety guidelines for their proper and safe use. I would also like to acknowledge the web site Buildyourownguitar.com for providing the basic guide lines I followed, http://www.buildyourguitar.com/resources/lapsteel/index.htm Here is a list of tools and materials I used in this build in no particular order, of course you are free to substitute any where you wish: 1 piece Maple 32" X 4" X 3/4" 1 Piece pine 32" X 4" X 3/4" 2 pieces of maple 18" X 3/4" X 1/8" 1 piece walnut 18" X 3/4" X 1/8" several small bits of maple mostly 4" X 2" X 1/8" (pick-up cover plate and control plate) 2 pieces aluminum L channel, 2 1/4" X 1/2" X 3/4" ( bridge and nut) 1each 250 K volume pot 1each 1/4" phone jack 1 single coil pick up with adjustment screws and springs Carpenters glue 2 part epoxy 6 tuner heads, 3 left, 3 right 5/8" #6 pan head screws tuner head screws Sand paper, 60, 100, 150 and 600 grit table saw miter saw joiner drill press cordless drill many clamps flush cut hand saw dove tail saw wood rasp several files Cabinet scrapper digital calipers tape measure 18" steel rule French curve rotary tool with steel burr and sanding drums. Safety glasses assorted drill bits lots of imagination an occasional adult beverage of your choosing (I do not endorse drinking and operating tools) lacquer 0000 steel wool one set of electric guitar strings chisels block plane saddle square and combination square http://www.instructables.com/id/Building-a-basic-lap-steel-guitar/ Step 1: Got wood? Ideally you would be using a solid 1 1/2 " plank for this project but since the costs can be prohibitive I went with a laminated blank, the top half is maple, the bottom half is clear pine. Cut your boards 32" long and 4" wide, then if you are using a 2 part construction method glue and clamp them together. I use LePage's carpenter glue but you can use what ever you like. Image Notes Image Notes 1. you can never have too many clamps 1. wood gloat, check out the tiger stripping on this maple. I got it right out of the rack at my local borg store http://www.instructables.com/id/Building-a-basic-lap-steel-guitar/ Step 2: Squaring things up After the glue has had about 24 hours to cure you can square up the blank. I use a joiner and chop saw to do this however you can just as easily use a hand plane and hand saw. Image Notes Image Notes 1. looks like I could use a new blade for my table saw 1. That's better, the joiner makes short work of this job. Step 3: Laying out the head stock In this step I lay out the head stock in preparation for material removal. http://www.instructables.com/id/Building-a-basic-lap-steel-guitar/ Image Notes Image Notes 1. I do this so that I always know what edge I am going to square my layout 1. Mark your center line, another very useful reference and remember to extend lines from. This avoids problems down the road. it down the ends too. Image Notes Image Notes 1. This line shows the material to be removed and the x's remind you which side 1. The line 7" back represents where the head stock ends and the 5 1/2" line of the line to cut on. Leave about 9/16" for the head stock. represents the the point where the transition to the neck/body begins. Image Notes Image Notes 1. For those following at home, this is the width of the end of the head. 1. Buy a "French" curve, it will give you consistent results, the end result is a smooth transition line. Step 4: Making the cut At this point you should be ready to remove the bulk of the material on the head to bring it close to the finished thickness. http://www.instructables.com/id/Building-a-basic-lap-steel-guitar/ Image Notes Image Notes 1. Secure the blank to a solid work surface. 1. If you start your cuts like this you will always get a square cut. Image Notes Image Notes 1. The back cut is done. 1. This is one method of removing the material, a band saw would work even better. Image Notes Image Notes 1. This is the method I used, a good quality dove tail hand saw and some patients 1. This task is done, and I am happy with the results. will yield good results. http://www.instructables.com/id/Building-a-basic-lap-steel-guitar/ Step 5: Transition time The area where the head meets the neck requires some careful attention, it is easy to mess up the whole job here. Again, a band saw would make quick work of this, but I chose to use a sharp chisel and hammer. Image Notes Image Notes 1. This is where using pine as the back will work to your advantage, it is much 1. Sneaking up to the line, don't be in a rush here. softer and easier to remove the material. Image Notes 1. This is as close as you need get with the chisel, you will clean the rest of it up with rasps and files. Step 6: The head shape At this stage we are ready to cut the taper on the head and clean up the back side. Here a hand saw, rasp and file will be used followed by sand paper. http://www.instructables.com/id/Building-a-basic-lap-steel-guitar/ Image Notes Image Notes 1. Once again start the cut on the angle to ensure a square edge when you 1. The rough cut is done. are done. Image Notes Image Notes 1. The finish shaping is done using a rasp, followed by a file then sand paper. 1. The transition area has been filed to the line and here I also used some epoxy as a grain filler. I do this because the end grain of the pine I exposed will absorb the final finish at a different rate to the maple. The epoxy prevents this. Caution, epoxy won't take stain, so if you plan on using stain, use the grain filler recommended by the stain manufacturer. 2. This bark inclusion wasn't visible on the wood surface, oh well, it adds character. Step 7: Don't fret the small things The nice thing about a lap steel guitar is that the fret board can be super simple or non existent at all. You don't need to install fret wire and if it isn't perfectly flat or crowned it doesn't matter. Here I am trying to decide if I should use walnut or some lovely bird's eye maple I had on hand. Since they both looked good I decided to use them both. You could assemble the fret board right on the guitar or do as I did and glue it up and mark it off before I attached it to the guitar. The end product should be 2 1/4" wide by 1/8" to 1/4" thick by about 18" long, it is better to go long and trim later. Also, a word about scale length, I will be using a 22 1/2" scale length with 25 fret positions. This link has a great fret calculator. http://www.sirgalahad.org/paul/fretcalc.html http://www.instructables.com/id/Building-a-basic-lap-steel-guitar/ Image Notes Image Notes 1. Walnut? 1. Maple? Image Notes 1. These are cedar shims I used to apply lateral pressure to the strips. Epoxy doesn't need much clamping pressure so go gentle. Image Notes Image Notes 1. Fresh out of the clamps.
Recommended publications
  • The Cat Mandible (II): Manipulation of the Jaw, with a New Prosthesis Proposal, to Avoid Iatrogenic Complications

    The Cat Mandible (II): Manipulation of the Jaw, with a New Prosthesis Proposal, to Avoid Iatrogenic Complications

    animals Review The Cat Mandible (II): Manipulation of the Jaw, with a New Prosthesis Proposal, to Avoid Iatrogenic Complications Matilde Lombardero 1,*,† , Mario López-Lombardero 2,†, Diana Alonso-Peñarando 3,4 and María del Mar Yllera 1 1 Unit of Veterinary Anatomy and Embryology, Department of Anatomy, Animal Production and Clinical Veterinary Sciences, Faculty of Veterinary Sciences, Campus of Lugo—University of Santiago de Compostela, 27002 Lugo, Spain; [email protected] 2 Engineering Polytechnic School of Gijón, University of Oviedo, 33203 Gijón, Spain; [email protected] 3 Department of Animal Pathology, Faculty of Veterinary Sciences, Campus of Lugo—University of Santiago de Compostela, 27002 Lugo, Spain; [email protected] 4 Veterinary Clinic Villaluenga, calle Centro n◦ 2, Villaluenga de la Sagra, 45520 Toledo, Spain * Correspondence: [email protected]; Tel.: +34-982-822-333 † Both authors contributed equally to this manuscript. Simple Summary: The small size of the feline mandible makes its manipulation difficult when fixing dislocations of the temporomandibular joint or mandibular fractures. In both cases, non-invasive techniques should be considered first. When not possible, fracture repair with internal fixation using bone plates would be the best option. Simple jaw fractures should be repaired first, and caudal to rostral. In addition, a ventral approach makes the bone fragments exposure and its manipulation easier. However, the cat mandible has little space to safely place the bone plate screws without damaging the tooth roots and/or the mandibular blood and nervous supply. As a consequence, we propose a conceptual model of a mandibular prosthesis that would provide biomechanical Citation: Lombardero, M.; stabilization, avoiding any unintended (iatrogenic) damage to those structures.
  • Analyses of Thoracic and Lumbar Spine Injuries in Frontal Impacts

    Analyses of Thoracic and Lumbar Spine Injuries in Frontal Impacts

    IRC-13-17 Analyses of Thoracic and Lumbar Spine Injuries in Frontal IRCOBIImpacts Conference 2013 Thorsten Adolph, Marcus Wisch, Andre Eggers, Heiko Johannsen, Richard Cuerden, Jolyon Carroll, David Hynd, Ulrich Sander Abstract In general the passive safety capability is much greater in newer versus older cars due to the stiff compartment preventing intrusion in severe collisions. However, the stiffer structure which increases the deceleration can lead to a change in injury patterns. In order to analyse possible injury mechanisms for thoracic and lumbar spine injuries, data from the German In‐Depth Accident Study (GIDAS) were used in this study. A two‐step approach of statistical and case‐by‐case analysis was applied for this investigation. In total 4,289 collisions were selected involving 8,844 vehicles, 5,765 injured persons and 9,468 coded injuries. Thoracic and lumbar spine injuries such as burst, compression or dislocation fractures as well as soft tissue injuries were found to occur in frontal impacts even without intrusion to the passenger compartment. If a MAIS 2+ injury occurred, in 15% of the cases a thoracic and/or lumbar spine injury is included. Considering AIS 2+ thoracic and lumbar spine, most injuries were fractures and occurred in the lumbar spine area. From the case by case analyses it can be concluded that lumbar spine fractures occur in accidents without the engagement of longitudinals, lateral loading to the occupant and/or very severe accidents with MAIS being much higher than the spine AIS. Keywords accident analysis, injuries, frontal impact, lumbar spine, thoracic spine I. INTRODUCTION With the introduction of lap belts a new injury pattern, the so called seat belt syndrome, was observed [1].
  • For My Physics 398 Semester Project, I Built a Lap Steel Guitar from "Scratch"

    For My Physics 398 Semester Project, I Built a Lap Steel Guitar from "Scratch"

    For my Physics 398 semester project, I built a lap steel guitar from "scratch". When taking this approach to building a guitar, or any instrument for that matter, there are an infinite amount of design questions, both functional and cosmetic, that arise. For that reason, I decided to find an existing lap steel that I particularly liked and use it as a guide for construction. I ended up choosing a 1946 Fender Deluxe for my template. Many of the design questions were now answered for me, but some new ones arose as a result of me not being able to exactly replicate various elements of the Deluxe. Having chosen the style for my guitar there were many specific design choices to be made. What kind of wood should I use for the body? Should I use tuning machines that go through the headstock or mount on top? What should I use for the nut? How am I going to design the fret board? What kind of pickup and bridge should I use? Should I attach the strings to a tailpiece or mount them through the body? Where do I want the knobs and output jack? Needless to say there were many issues to address. First off, I started researching online about different woods for guitars and on the Hawaiian Steel Guitar Association's website I found this description of Honduras Mahogany...a Gibson EH-150 full, mellow midrange to slightly bass sound... which sounded pretty good to me, so Honduras Mahogany it was. I ordered a 30'' x 7 1/4'' x 1 3/4'' piece from www.rockler.com, which cost me about $45.
  • Anterior and Posterior Tooth Arrangement Manual

    Anterior and Posterior Tooth Arrangement Manual

    Anterior & Posterior Tooth Arrangement Manual Suggested procedures for the arrangement and articulation of Dentsply Sirona Anterior and Posterior Teeth Contains guidelines for use, a glossary of key terms and suggested arrangement and articulation procedures Table of Contents Pages Anterior Teeth .........................................................................................................2-8 Lingualized Teeth ................................................................................................9-14 0° Posterior Teeth .............................................................................................15-17 10° Posterior Teeth ...........................................................................................18-20 20° Posterior Teeth ...........................................................................................21-22 22° Posterior Teeth ..........................................................................................23-24 30° Posterior Teeth .........................................................................................25-27 33° Posterior Teeth ..........................................................................................28-29 40° Posterior Teeth ..........................................................................................30-31 Appendix ..............................................................................................................32-38 1 Factors to consider in the Aesthetic Arrangement of Dentsply Sirona Anterior Teeth Natural antero-posterior
  • Self Range of Motion Exercises for Arm and Hand

    Self Range of Motion Exercises for Arm and Hand

    Self-Range of Motion Exercises for the Arm and Hand After a stroke, it is important to do the exercises in this handout for your affected arm and hand. You can do them on your own by using your unaffected arm and hand. These gentle movements are called “self-range of motion” exercises, and they help to maintain your movement, prevent stiffness, improve blood flow, and increase awareness of your affected arm and hand. Complete the exercises slowly and do not force movements. Stop if you feel pain. If you have any questions or concerns, please contact your Occupational Therapist: _______________________________ Do the exercises in this handout _____ times each day. Page - 1 Self-range of motion exercises for the arm and hand 1. Shoulder: Forward Arm Lift Interlock your fingers, or hold your wrist. With your elbows straight and thumbs facing the ceiling, lift your arms to shoulder height. Slowly lower your arms to starting position. Hold for ____ seconds. Repeat ____ times. Page - 2 Self-range of motion exercises for the arm and hand 2. Shoulder: “Rock the Baby” Stretch Hold your affected arm by supporting the elbow, forearm and wrist (as if cradling a baby). Slowly move your arms to the side, away from your body, lifting to shoulder height. Repeat this motion in the other direction. Slowly rock your arms side-to-side, and keep your body from turning. Repeat ____ times. Page - 3 Self-range of motion exercises for the arm and hand 3. Shoulder: Rotation Stretch Interlock your fingers, or hold your wrist. With your elbows bent at 90 degrees, keep your affected arm at your side.
  • The Role of FDG PET/CT in Detection of Distant Metastasis in the Initial Staging of Breast Cancer

    The Role of FDG PET/CT in Detection of Distant Metastasis in the Initial Staging of Breast Cancer

    Turkish Journal of Medical Sciences Turk J Med Sci (2016) 46: 349-360 http://journals.tubitak.gov.tr/medical/ © TÜBİTAK Research Article doi:10.3906/sag-1409-1 The role of FDG PET/CT in detection of distant metastasis in the initial staging of breast cancer 1 1 1 1 1 Anar ALIYEV , Sabire YILMAZ AKSOY , Meftune ÖZHAN , Özgül EKMEKÇİOĞLU , Betül VATANKULU , 2 1 3 1 1, Pınar Çiğdem KOCAEL , Muhammet Sait SAĞER , Melih Engin ERKAN , Kerim SÖNMEZOĞLU , Metin HALAÇ * 1 Department of Nuclear Medicine, Cerrahpaşa Faculty of Medicine, İstanbul University, İstanbul, Turkey 2 Department of General Surgery, Cerrahpaşa Faculty of Medicine, İstanbul University, İstanbul, Turkey 3 Department of Nuclear Medicine, Faculty of Medicine, Düzce University, Düzce, Turkey Received: 02.09.2014 Accepted/Published Online: 30.06.2015 Final Version: 17.02.2016 Background/aim: We aimed to evaluate the role of FDG PET/CT in the detection of extraaxillary regional nodal/distant metastasis in breast cancer patients and to assess the value of FDG PET/CT for detecting distant metastases in patient subgroups. Materials and methods: A total of 254 patients with breast cancer (248 female, 6 male) who underwent PET/CT for initial staging were enrolled. Patients were divided into four groups: Group 1 consisted of 154 patients diagnosed by tru-cut/core/FNAB, Group 2 comprised 32 patients diagnosed by excisional biopsy, Group 3 included 62 patients who had mastectomy-axillary lymph node dissection, and Group 4 consisted of 6 patients who had axillary lymph node metastasis diagnosed by excisional biopsy. Results: PET/CT detected distant metastasis in 76 of the 254 patients.
  • A Guitarra Clássica Como Instrumento Concertista Através De Andrés Segovia 9

    A Guitarra Clássica Como Instrumento Concertista Através De Andrés Segovia 9

    UNIVERSIDADE DE ÉVORA ESCOLA DE ARTES DEPARTAMENTO DE MÚSICA Reportório de Jazz para guitarra a solo Mário Delgado Orientação: Prof. Doutor Eduardo Lopes Mestrado em Música Área de especialização: Interpretação Dissertação Évora, 2014 1 Mestrado em Música Interpretação Dissertação Reportório de Jazz para guitarra a solo Mário Delgado Orientador: Prof. Doutor Eduardo Lopes 2 Dedicada à memória dos meus pais Manuel Ribeiro da Silva Delgado e Manuela das Dores Barrela da Silva Delgado 3 Agradecimentos Em primeiro lugar cumpre-me agradecer à minha mulher Luísa Paiva Delgado e sua mãe Lídia Paiva por todo o apoio e ajuda na elaboração deste trabalho e ainda aos meus filhos que suportaram por vezes a minha ausência. Ao meu orientador Prof. Eduardo Lopes por toda ajuda, disponibilidade e sábios conselhos; Ao Prof. José Meneses e ao meu colega de mestrado Alexandre Dinis pelos aconselhamentos bibliográficos; aos meus irmãos Pedro Delgado e José Delgado pela exposição que me proporcionaram desde muito cedo a diversos tipos de música e também aos vários músicos com que tenho partilhado o palco e aos meus alunos. Índice 4 Resumo 6 Abstract 7 A Guitarra Clássica como instrumento concertista através de Andrés Segovia 9 Breve história da guitarra eléctrica 12 Charlie Christian e a implementação da guitarra eléctrica como um instrumento funcional e popular 17 Fundamentações para a análise demonstrada nos três discos de guitarra a solo 23 JOE PASS 24 Breve biografia 24 JOE PASS – Virtuoso 25 Seleção de reportório 33 Recursos estruturais de andamento
  • Jessica Asher Website: Phone: 310-821-2888 Email: Jessica.Asher@Asherguitars.Com

    Jessica Asher Website: Phone: 310-821-2888 Email: [email protected]

    October 1, 2018 PRESS RELEASE: FOR IMMEDIATE RELEASE Contact: Jessica Asher Website: www.asherguitars.com Phone: 310-821-2888 Email: [email protected] Introducing the new 2019 Asher Electro Hawaiian Junior Lap Steel The best electric lap steel on the market just got better. Asher Guitar’s Electro Hawaiian Junior 6-string lap steel got a complete overhaul and although the look is generally the same, the telling is in the details. Known for its solid construction and quality components, the use of lighter-weight African mahogany with its neck-through-body construction, provides the optimal foundation for creating an impressive resonance and tonal range. The improved high output humbucker pickups produce an impressive huge sound with depth and clarity without being too dark. The Junior’s slightly wider string spacing allows for effortless playability making it a great cross- over instrument for guitar, Dobro and Weissenborn players. The 2019 version also now has 24 frets (expanded from 22), which allows easy access to the 3rd octave. A newly designed aluminum wrap-around bridge with flat radius has been added for improved body contact, string spacing and sustain. Other upgrades include better performing machine heads, USA low-friction nut by Graphtech and a reliable padded gig bag with heavy duty zippers. The 2019 Jr. now has a Granadillo fretboard which is CITIES compliant, so this lap steel can safely travel across international borders. This work-horse lap steel now comes in 5 enticing colors (tobacco burst, trans cherry, antique white, lake placid blue and a limited edition Gold Top).
  • Section 3 Types of Weight Loss Surgery

    Section 3 Types of Weight Loss Surgery

    Northern California Bariatric Programs Section 3 Types of Weight Loss Surgery Bariatric Contact Information Fremont Medical Center 39400 Paseo Padre Parkway Niles Building, 1st Floor Fremont, CA 94538 Appts/Advice: (510) 248-3335 Page 1 Northern California Bariatric Programs Types of Weight Loss Surgery Open and Laparoscopic Procedures Anatomy of the Stomach and Intestines Roux en Y Gastric Bypass Anatomy Surgical Procedure and Hospital Stay Weight Loss Short Term Side Effects and Complications Long Term Side Effects and Complications Vertical Sleeve Gastrectomy Anatomy Surgical Procedure and Hospital Stay Weight Loss Short Term Side Effects and Complications Long Term Side Effects and Complications Adjustable Gastric Banding Surgical Procedure and Hospital Stay Weight Loss Short Term Side Effects and Complications Adjustments and Fills The Green Zone Long Term Side Effects and Complications Comparison of the Different Operations Goals and Preparation Before Surgery Who is the ideal candidate for surgery? Why do you need to lose weight BEFORE surgery? How do you lose weight BEFORE surgery? Hospitalization Life After Surgery Summary and Key Points Page 2 Northern California Bariatric Programs TYPES OF WEIGHT LOSS SURGERY The different types of Weight Loss Surgery Surgical procedures for the treatment of obesity can be divided into three general categories. 1. Malabsorptive procedures 2. Restrictive procedures 3. Combined malabsorptive/restrictive procedures In the mid-1970’s malabsorptive procedures such as the jejuno-ileal bypass procedures were popularized for the treatment of obesity. By 1983 it was recognized that complications associated with this bypass were too frequent and too severe. The procedure was, therefore, abandoned and no longer recommended.
  • The Ukulele Is Commonly Associated with Music from Hawaii Where Its Name Roughly Translates As "Jumping Flea", Perhaps Because of the Movement of the Player's Fingers

    The Ukulele Is Commonly Associated with Music from Hawaii Where Its Name Roughly Translates As "Jumping Flea", Perhaps Because of the Movement of the Player's Fingers

    SOMEONE WHO PLAYS THE UKE Table of Contents TTTThhhheeee u u uukkkkuuuullleleleelllelelee i i isisiss f f fufuuunnnn 1111 111.1.... IIItItItt’’’’s’sss a a aallllll l l a a aabbbboooouuuutttt t t tthhhheeee s s ssuuuurrrfrfff 4444 2222..... TTTThhhheeee o o oobbbbjjjejejeecccctttt 11121222 3333..... SSSShhhhoooouuuullldldldd i i i i i b b bbooootttthhhheeeerrr r w w wwiiitititthhhh m m mmuuuussssiiicicicc 11161666 tttthhhheeeeoooorrryryyy???? TTTThhhheeee e e eennnndddd 22221111 ccccoooolllololoofffufuuunnnn 22227777 2 IChaTpte’r 1 S ALL ABOUT THE SURF The ukulele is commonly associated with music from Hawaii where its name roughly translates as "jumping flea", perhaps because of the movement of the player's fingers. Legend attributes it to the nickname of Englishman Edward William Purvis, one of King Kalākaua's officers, because of his small size, fidgety manner, and playing expertise. One of the earliest appearances of the word ukulele in print (in the sense of a stringed instrument) is in the Metropolitan Museum of Art's Catalogue of the Crosby Brown Collection of Musical Instruments of All Nations published in 1907. The catalog describes two ukuleles from Hawaii - one that is similar in size to a modern soprano ukulele, and one that is similar to a tenor (see § Types and sizes). Developed in the 1880s, the ukulele is based on several small, guitar-like instruments of Portuguese origin, the machete, cavaquinho, timple, and rajão, introduced to the Hawaiian Islands by Portuguese immigrants from Madeira and Cape Verde. Three immigrants in particular, Madeiran cabinet makers Manuel Nunes, José do Espírito Santo, and Augusto Dias, are generally credited as the first ukulele makers.
  • Pediatric Assessment High Stress Situation L Child

    Pediatric Assessment High Stress Situation L Child

    Pediatric Assessment High Stress Situation l Child l In pain l Frightened l Guilty High Stress Situation l Parent l Frightened l Guilty l Exhausted High Stress Situation l Paramedic l Frightened l May over-empathize High Stress Situation Who has to control situation? Basic Points l Oxygenation, ventilation adequate to preserve life, CNS function? l Cardiac outpp,ut sufficient to sustain life, CNS function? l Oxygenation, ventilation, cardiac outp ut likely to deteriorate before reaching hospital? l C-spine protected? l Major fractures immobilized? Basic Points l If invasive pp,rocedure considered, do benefits outweigh risks? l If parent is not accompanying child, is history adequate? l Transport expeditiously l Reassess, Reassess, Reassess Patient Assessment l Priorities are similar to adult l Greater emphasis on airway, breathing Patient Assessment l Limit to essentials l Look before you touch Pediatric Assessment Triangle: First Impression l Appearance -mental status, body position, tone l Breathing - visible movement, effort l Circulation - color Circulation Pediatric Assessment Triangle IiilAInitial Assessment l Appearance - AVPU l Breathing - airway open, effort, sounds,,, rate, central color l Circulation - pulse rate/strength, skin color/temp, cap Circulation refill, BP ( use at early ages) Initial Assessment l Categorize as: l Stable l Potential Respiratory Failure or Shock l Definite Respiratory Failure or Shock l Cardiopulmonary Failure Initial Assessment l Identify, correct life threats l If not correctable, l Suppor t oxygena
  • Body Measurements (Anthropometry) Manual

    Body Measurements (Anthropometry) Manual

    NATIONAL HEALTH AND NUTRITION EXAMINATION SURVEY III Body Measurements (Anthropometry) Westat, Inc. 1650 Research Boulevard Rockville, MD 20850 (301) 251-1500 October 1988 TABLE OF CONTENTS Chapter Page 1. INTRODUCTION TO ANTHROPOMETRY ......................... 1-1 1.1 Overview of Anthropometry ................................ 1-1 1.2 Purpose of Anthropometrics ................................ 1-1 2. EQUIPMENT ............................................. 2-1 2.1 Description of Exam Room in MEC .......................... 2-1 2.2 Description of Equipment and Supplies ........................ 2-1 2.3 Start of Stand Procedures .................................. 2-2 2.3.1 Equipment and Setup Procedures ...................... 2-2 2.3.1.1 Weight Scale ............................. 2-2 2.3.1.2 Setting the Printer for Weight Scale ............. 2-2 2.3.1.3 Stadiometer .............................. 2-3 2.3.2 Calibration Procedures ............................. 2-3 2.3.2.1 Mediform Large Sliding Caliper ............... 2-3 2.3.2.2 Small Sliding Breadth Calipers ................ 2-4 2.3.2.3 Infant Measuring Board ..................... 2-4 2.3.2.4 Stadiometer .............................. 2-4 2.3.2.5 Digital Weight Scale ....................... 2-5 2.3.2.6 Skinfold Calipers .......................... 2-5 2.3.3 Daily Procedures ................................. 2-6 2.3.3.1 Skinfold Calipers .......................... 2-6 2.3.3.2 Weight Scale ............................. 2-6 2.3.3.3 Infant Measuring Board ..................... 2-6 2.3.3.4 Stadiometer .............................. 2-6 2.4 Care and Maintenance .................................... 2-7 2.4.1 Cleaning of Equipment ............................. 2-7 2.4.2 Malfunctions .................................... 2-7 2.5 End of Stand Procedures .................................. 2-7 2.5.1 Pack-Up Calibration ............................... 2-8 2.5.2 Pack-Up Procedures ............................... 2-8 iii TABLE OF CONTENTS (continued) Chapter Page 2.5.2.1 Calipers ...............................