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Voting November 2018's Guitar Of The Month is now open

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  2. ScottR

    Not Quite A Tele...

    Thanks Stu. I'm thinking its going to be a gem to play. SR
  3. Today
  4. Quite possibly the finest, most articulate, well balanced and most versatile of all pups can be found here,.,, http://wildepickups.com And at the insanely low prices Becky still asks, they are the "deal of the Century" rk
  5. Use an airbrush. Keep the mix Really thin, 70% thinner, 30% product (whatever finish you're using) Test your mix to be sure you have Enough Color mixed in from the start. If your color is weak and you have to shoot multiple coats to get your color, you're unnecessarily building product. And using 70% thinner, it'll start to run if you overdo it and ruin Everything. You don't want that. You don't want mistakes. You want to keep that airbrush moving, your mix is very thin. Practice all these steps on a scrap piece first. Spray it white first just like your piece. Learn how to use automotive masking tape, or pinstriping tape, or detail tape, whatever you want to call it. Pull tape not less than 15 minutes, not more than an hour, depending on product drying time.
  6. I was wondering this myself. There seems to have been a bit of a snafu. I don't think we're the only one's confused.
  7. Come on in, the water is fine. And bring your sandpaper!
  8. I'm sorry but I get really confused on navigating this site I think I entered my guitar in the Dec contest but I'm not sure. I keep going around in circles.
  9. Stu.

    Not Quite A Tele...

    There's something really calming and zen about this one! I'm not sure if it's the flowing curves, or the straight grain, but it's lovely.
  10. Stu.

    Black Limba Flying V

    I should imagine so I was aiming for a neat theme, and it seems to work! 11-13 shows the nine realms of Norse mythology in interwoven triangles, and then the individual runes for the nine realms are spread out across the fingerboard. The 12th pretty much had to get flooded with ebony dust and CA, then routed again. Poor thing!
  11. Yesterday
  12. RestorationAD

    SG Respin

    Also I am looking forward to the Tele Bass. Going to lIsten to a lot of The Police while building it.
  13. RestorationAD

    SG Respin

    Yes I wrote it down. Pickups are science not art... and I can't remember anything not related to my job like #code, #InfrastructureAsCode and #CI/CD these days.
  14. very nice work. you did the carve justice. looks great.
  15. It's entirely possible that Mr Angove came to a similar conclusion; that the method of securing the strings was the key to the perceived differences in sounds between guitars. Eg, string-through body vs top loading, saddle construction, bridge material, floating trem vs hardtail etc. But the true meaning of his conclusion that 'wood doesn't matter' has been lost due to the unavailability of his research paper to the general public (if indeed it ever did actually exist).
  16. Yes - managed to keep enough offcut to take slices for the front and back headstock plates and control cover. The control cover and truss rod cover have magnet fixings. Ewan hasn't had it back yet. He asked me to fit the original electrics but both pots are shot. When the replacements have come later in the week, it'll be packed up and shipped off back to him. Based on the photos, though, he is very, very pleased which is nice
  17. Exactly. At least mostly. Straight grain is best for the load bearing parts, but crooked grain is prettier for tops and such. It would still qualify as "good wood". SR
  18. That came out quite nice Andy! The top does look good. I presume the headstock cap, backstrap and cavity cover are all Katalox as well? I love the way the backstap is fitted around the volute. I expect it will keep looking richer as the katalox darkens over time. I presume Ewan is suitably impressed and appreciative. SR
  19. And bringing everything up to date: Ewan wanted an ebony fretboard - flat - and lined. I marked the board out by hand (31.5" is not a size for template availability!) and cut the slots on the G&W mitre box to make sure they were vertical and didn't move around I filled the fret slots with some redwood veneer, aiming to give it a subtle lined look: After flattening with a 400 grit diamond stone, the ebony polished up nicely using 1000 grit paper and 2000 to 12000 micro-web: The body rounded and the neck reinforced with carbon rods: Then the headstock winged and shaped and the neck carved: The inevitable swifts but this time I went for ebony: And after a disproportionate number of 'just a few things to finish off jobs' - finished Thanks for looking!
  20. "Good wood" is always better than so-called "tone wood". Straight grain, stable for it's intended use, etc.
  21. ScottR

    Misc Stuff about Life. Part XII

    Good news Mike! Your scotch will even taste better soon, I'm sure of it. SR
  22. I think everyone can agree that pickups pick up the variances in the magnetic field caused by the vibrations of the steel strings. Wood does not create variances in the magnetic field and therefore plays no role in tone......at least that is one of the arguments presented. However the material the strings are anchored in can and do affect the way they vibrate. Anchor one set in a sheet of one inch thick rubber and another in a one inch thick sheet of iron and see if vibrate differently or exactly the same. And that is how one piece of wood can change the sound from another. It is very subtle, one cannot pick what type of wood is used, and they all sound like electric guitars......because 99%+ of the sound comes from everything else involved. Many times one can here a difference and many times one cannot, the vibrational variances are not that extreme within the most often used types of wood. I would have to agree the most important function of the woods we use is the visual impact and perhaps the way they feel in our hands....and mojo. Mojo is the best thing the right piece of wood brings! SR
  23. Excellent idea with the slotting jig! Now I have to try it asap..... Also, great workmanship all around Waiting for the developments!
  24. Where are my swimming trunks? It looks like I could dive right in
  25. I'm of the opinion that you can factor out material contributions in most cases. Dump an EMG-81 into any instrument and this becomes abundantly clear. The opposite is true of say, a PAF clone in something like an ES-335. That combination is highly influenced by the woods. Body shape. Hmm. To a degree. I'd be more inclined to say that thickness, density, etc. have more effect than the mere outline. My thin 32mm bass has a rather large shape in spite of the thin body. The result is a spanky and quick sound, both acoustically and through the Music Man pickup. The relationship is there. Like I say, plenty of cases prove what people want to hear and plenty disprove. It's best saying that it can be made a factor if one chooses to. That sweet '59 LP will sing like a turd with EMGs.....
  26. Andyjr1515

    Hi - Starting building #6

    I think this is right. Certainly a dust and glue (for dark woods I would use epoxy - wood glue, even full of dust, often dries light) will hide the gap which, as @ScottR says, may well be carved away. Then keep a close eye on it. If there is no more splitting, it is unlikely to be a problem. However, if it is still moving and splits more, then I think you might have a problem - either with the glue or the wood or both. I worked on an old bass a few years ago that had pulled itself apart and was still moving - 20 years after it was built!
  27. The pages you link to all point to the same study by Matthew Angove at Latrobe University from about 6 years ago. The problem I have with that reference is that it's impossible to find anything more about his work other than the announcement that he did a couple of months research and came to a conclusion. I've searched before and never been able to locate his research paper, so there's no way of being able to study his methods and measurements to find out how and why he came to his conclusion that material and body shape make no difference. That said, I'm personally of the belief that the whole tonewood-in-electric-guitars is a pointless debate. I suspect the material the guitar is made from does make some difference, but in the case of the electric guitar there are other things that make the differences directly related to the materials alone disappear into insignificance. The build quality of the instrument, the pickups, whatever effects you run through, the amp, the speaker and the volume you're playing at would easily swamp any differences in a basswood vs swamp ash body. The videos in the first link are kinda neat but they don't really prove that material does or does not make a difference to the tone, other than whatever material the guitar is made from the end result still sounds like an electric guitar. I'd rather just play the damn thing and enjoy the experience of making music on one of the most influential instruments of the last 100 years, than try and find reasons to like or dislike a rosewood fretboard vs a maple one.
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