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Entry for July 2019's Guitar Of The Month is now open!
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  1. Yesterday
  2. Bostosh

    need 3D CAD files

    hi, what do you nave for data? and what do you want to modify?
  3. Thanks for the input. Had to look up Faraday Cage
  4. If you're worried about the conductivity in the seams, simply sand the edge of the tape with some four digit grit wet'n'dry or wirewool/plastic equivalent before gluing the overlapping tape. Wiping with vinegar or other acid might also do the trick but then you'd have to deal both with moisture and neutralizer (baking soda). You might even end up soaking the glue off the tape. If I've understood right what I've learned, as long as the overlapping stripes have several contact spots the shielding will work. That's why some builders only have a few stripes of the copper tape turn over the edge of the cavity to make contact with the copper covered plate. An airtight metal box isn't necessary, it's about building a Faraday cage which in theory could be made as a wire frame in the edges and corners of the cavity. Since the cavities are of uneven shape covering all surfaces is the quick and dirty way to solve any corner issues.
  5. I applied bondo and spot putty to the glue seams. I finished sanded, masked off the back and sprayed on a couple coats of black primer. I use and recommend Mohawk lacquers. I mixed up black and Sy Casual blue for the front. I applied several coats, varying the mixture till I was satisfied with my idea of a midnight blue. I used the purple Harbor Freight touch up cup gun to spray the lacquer. I was so happy with its performance. I clear coated the front and back and added a little amber to mellow the back.
  6. Hi Everyone, I am giving my first build/rebuild a go. I bought a Monoprice Indio Telecaster with the hopes of stripping all components and adding better quality ones. I have already purchased all the components and I am getting ready to start. My question is about shielding the guitar using conductive adhesive copper tape. I have (5) 3" x 14" pieces of copper foil tape with conductive adhesive that was given to me for free. The question is about tarnish. I have attached a picture of what the tape looks like. What if any problems will this cause if I use the tape as is? I appreciate everyones input . Evan
  7. Bwahahaha!!! Anyhow, that makes you easy to follow. Supposedly that's the nicest thing said about the marketing people.
  8. Thanks chaps, I’m got a voice recorder and lapel mic thanks to @Urumiko and used that audio over the footage. The recorder isn’t doing any auto levelling but it’s possible that the software is. Will examine further during the next lot of editing. Yes speaking slowly, probably due to 10 years of being a software engineer talking to people in marketing
  9. NAME: SWEET SPOT BLONDE a.k.a. "Texas Sweetspot" - scratch build #4 for me! SPECS: overall weight: 6lbs 8oz - hair lighter than the blue and 'feels' very light NECK: nut: Graph Tech nu bone string trees: Graph Tech scale length: 25.5" fretboard radius: 12" frets: 22 med jumbo Jescar fret markers: ceramic cream .25" dots neck profile: vintage 'C' profile - classic strat feel neck format: 2 piece, heal adjust via fretboard, 6 inline reverse headstock CBS style, no headstock angle neck joint: sculpted access bolt-on via steel ferrules truss rod: Allied Lutherie flex strong - access via 19th fret spoke wheel neck wood: birdseye maple, rosewood fretboard, rosewood headstock veneer neck finish: tru oil flat w nitro clear on headstock HARDWARE: Tuners: Kluson Tone Pros vintage style reverse Tremolo: Gotoh 510T FE1 pickup format: 4 single coils - body mounted Pickups: Bootstrap custom set - oatmeal stout (8.6k A5 43AWG), golden ale (7.4k A5 42AWG), golden ale(5.6k A2 42AWG), 54 Vintage Pro (5.6k A5 42AWG) pickup covers: black w rosewood veneer Controls: master volume, 6-way 'mode' rotary, 3-way lever, push-pull (true bypass) active mid booster w volume/boost control modes: 1) outside singles (tele), 2) inside singles (strat), 3) outside vs inside parallel (prs), 4) 2xbridge vs 2xneck parallel, 5) outside vs inside series 6) 2xbridge vs 2xneck series(Les Paul) pots: bournes lever switch: CRL knobs: rosewood BODY: body design: based on a 62 strat template available online... but then reduced by 5% for approx 1/2" less length/width in dimensions body top radius: 30" body edge: 1/2" roundover with inset rosewood binding body format: solid tremolo block encoumpases two bridge pickups, birdseye neck pickup block - neck pickups sit in semi-hollow chamber, deep sculpted belly cut body thickness: 2.125" at center body wood: 1pc african mahogany w bookmatched 4A flamed maple top, rosewood binding body finish: champagne frost (mohawk) nitro with watco nitro clear, back is finished in tru oil flat "A bit of information on your own background as a builder helps give context to your build." have some woodworking and solid surface fabrication in my background. Have assembled many partscasters. "Was it built in the garage, at school, work or in your own shop?" built in my humble garage (thanks to my wife Lori for allowing me to take it over!) "A summary of the build's history. Was it built for yourself, friend/family or a client? Did you design the instrument and its specifications or was it built to spec?" it all started when I was going to build a strat. I got some design feedback from a few guitar forums and it was pretty brutal. Most of the comments centered around the idea that my 'blue' design was quite a departure from the std strat style. With that in mind I did a second design of something I thought would have more of a 'traditional' feel... but I couldn't see scrapping the blue so I decided to do both. "What were the inspirations behind the instrument and why were various build aspects chosen?" I have been dreaming about a 4 pickup strat for a long time... my goal was to make something that wouldn't compromise the 'stratty' sound, but would have more hum canceling options, tele options (bridge + neck), and would do series humbucker (ie les paul) sounds fairly well. "Any background on what makes it special?" this is my strat. there are many like it but this one is mine. without me my strat is worthless... without my strat I am worthless! Lot of lessons learned, lots of hair pulled out, lots of hours of doubt... it's the struggles and overcoming them that seem the most special to me. As always: couldn't have done it without the advice/input/shoulders of many here who are quick with advice and help. "Posting a link to your guitar-building website, Photobucket, Facebook, etc. is fine, even if it is your business. In the spirit of fairness towards less experienced builders, we encourage professional builders to consider whether their entries constitute being "fair". I have a facebook 'business' page... but only because I just wanted a page where I could build a shrine to my scratch builds. www.facebook.com/mvmeguitars build thread here (note first post has all build updates uninterrupted): and below is my humble video demo from youtube:
  10. I managed to get the top inlay done today for the Jag style bass. Ash inlay 0.400". now to flip and thickness all to 0.350", then chamber that to match the back. Will use a ceruse finish t0 bring out the grain in black. MK
  11. Last week
  12. Valid point made. My experience with epoxy has been the 2k glue, also my experience with 2k poly is quite thin. If you've learned a good way to achieve a result you require, why fix something that is not broken.
  13. @ADFinlaysonI’m in frome in Somerset. The bandsaw might be a squeeze! The legs are detachable though as is the table if you did want it.
  14. Having done the same I can share your feelings! Now you're facing the hardest part: Filing and sanding them symmetrical and to the same size and shape. One useful tool might be a sort of a template shaped to snugly fit and go through the f-hole. A piece of scrap mdf should be just fine. Your acrylic template is the perfect test piece for that f-shaped object. Or you can do like I did and go just by eye. Even there the original template and a sharp pencil can be useful for finding any irregularities.
  15. WOW! You've tremendously improved the sound quality there! I'm not saying it's perfect but it's highly usable. Do you have some automatic recording level going on? That would explain why the bangs and scratches still are at the same level with your speech. Anyhow, the tool and workbench noise now is at an acceptable level to allow concentrating on what you're saying. What I really like is that you articulate clearly and even more important, you speak slowly enough even for us non-English speakers. Jaymes at Cwimson Guitaws is a good example of the opposite awticuwation...
  16. Well.. i took the plunge. And rough cut the holes.. started filing one of them. Camera angle etc makes them look uneaven but they are not
  17. Hey, where abouts are you? You have a couple of things I will be interested in, just trying to determine whether it would be worth the drive. PM if you want. Edit, i'm actually interested in most of it, but I'm not fitting a band saw in a TT Cheers Ash
  18. Oh yes. There are also straight edges, radius beams, straight edge and fret levelling files and more. Ive put this on eBay as a bundle for a stupidly cheap £800. Of someone here wants it I’ll take 10% off. Cheers.
  19. Hi all its a sad day for me. I’ve had a bit of a nightmare year. Lots of highs too but also a few things that went south and mean I won’t be building any more. Which means I have a load of gear that is taking up room that could be best used for other things. So, I’m advertising the whole lot. I don’t really want the hassle of splitting and listing on eBay so thought i’d offer at rock bottom price here. All in great condition. I’ll list the major parts here but I’ve amassed all sorts over the years and it will all be included. Ok, here goes. Pillar drill with fret press band saw with loads loads of spare blades spindle sander belt and disc sander fret slotting jig plus saw with depth guide Router sled for thicknessing fret files nut slotting tools fret nippers japanese file saw Assorted chisels, saws and files Various acrylic templates including Strat and prs as well as pickup and trem etc. There is a whole bunch of other stuff but too much too list. It’s all going to the buyer, along with woods. I have a few neck blanks, body blanks, some nice book matches tops and a set for an acoustic that includes kerfing, bridge and nut blanks. Theres also a bunch of knobs, electronics and bridges, tuners and so on. Most of it is new. Some schaller and hipshot. Plus a number of pickups including EMG and Ibanez. Essentially all the tools you need to unpack and start building. I cant use this now and I’d rather have the space so make me reasonable offer. You’ll need to collect from frome in Somerset. Thanks all and thanks to the pg folks for the site I e had a blast here and my guitar of the month win was a personal highlight Luckily i I can still play! ill add photos in a couple of days
  20. I have to agree... I've seen some of his other posts over the years... Generally the "science" is based more on internet hooplah than actual reality.. the simple truth is the tremolo has inherent flaws... to advert them you have to have a deep understanding of the mechanical fiuunctionality AND the metallurgical properties of the alloys used to make the strings... fortunately... superb guitarists have managed to navigate the foibles of tremolo annoyance and still produce superb music, through the years, you can too.. there is no magic spring placement, etc that will solve the problems.. and as long as the guitar is setup well.. You will do well... one point, where he says "string tension on the top has to equal spring tension on the back" is absolutely correct.. but what he apparently is unaware of is that tension is "filtered" through the tremolo pivots... or . . . you cannot have more tension on the treble side and less on the bass side... the cumulative tension of all the strings collide with the mechanics of the fulcrum point(s) and the string side "sees" it as all the same, not a bit from one string, and more from the next string.. The number one problem with Tremolo issues is the way guys use them... Dick Dale used them correctly, most of the "banger" groups use them incorrectly... If you try to rip the mechanism from the guitar to achieve some kinda dramatic effect you will be successful, the effect will be consistently out of tune guitars... Its a tremolo, its NOT an FX . . rk
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