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Showing content with the highest reputation since 12/25/2019 in all areas

  1. 8 points
    I sure hope so! Not certain, just a picture I figured would go with my username. Get it? Lumberjack...? Axes....? But also, guitar axes.......? I’ll show myself out. Major pic dump from a long day in the garage: Body trued up to 80 grit, controls drilled. Control cavity roughly routed, and a shot of my “method” for cavity cover fitting; I’m not a big template guy (although I know I should be) and cut almost everything free hand, including routes. Pressing aluminum foil over the cavity gives me my shape, as every cavity I cut is unique to the controls and layout I decide on, which changes for most every build. Cover cut And fit Neck cut and trued up Side dots drilled Gluing up the MOP dots. Fretboard radiused to 1000 grit Frets cut and tangs ground off. Stainless steel is a bear to work but I’ve become somewhat addicted to the feel for bends/vibrato, and have found cutting the frets and grinding the tangs to be easiest with a dremel metal cutting wheel with the fret locked in a vice. Let me know if anyone’s got an easier way, I used to try nipping them but wore through tools pretty quickly that way. Sealed the binding with a spritz of lacquer as I’m fairly certain I’ll be darkening the fretboard with Stewmac stain and didn’t want it bleeding into the maple. Frets pressed Current status after a full day of work.
  2. 7 points
    The back plate has been attached and about 90% filed/sanded/scraped flush with the sides. It's very close in most areas except for the scroll and neck join/heel areas. The join is pretty solid. There are a few imperfections in the 'usual suspect' areas. I don't expect it will be very noticeable when it's all said and done. Once I get the scroll/neck areas cleaned up I'll add a small roundover on the back, since I'm not planning on binding it. I've tapped on the box some, and it has that 'high ping' sort of resonance. I don't honestly know what I'm listening for, but I do like the sound of it!
  3. 4 points
    Some post holidays update... Not that much as I'm developing also an acoustic, will post a thread on it soon. So there is a pic of my carbon reinforcment rod into the neck. I use a piece of granit, perfectly flat, when gluing the two 3mm * 8mm carbon rod into the neck, so I'm sure it will stay flat. And the center block and side are ready to be glued to the back.
  4. 3 points
    Got the pieces inlayed this evening. Started off by stick the pieces to another copy of the design to make sure they were in the right places. Then stuck that to fretboard so I could scalpel round it. Then use the dremel and plunger base to do the majority of the work. Took a couple of hours to get the pieces fitting nicely because I was fighting against the radius of the fretboard. Annoyingly I miscalculated the required thickness for the bone/knife handle and it was too thing at one end - The only way I could get it to go in properly was to snap it in the middle. I'll see what it looks like once it's all sanded flush and will maybe glue is some mop dust if needed. I filled in my hap hazard edges with ebony dust and super glue, but used some dust from ziricote sapwood on the lighter side (knowing that superglue tends to darken things up a bit). So we'll see what it looks like in the morning
  5. 2 points
    is this a competition? race to the grave is on... vaper, had heart attack, and have diabetes... and doctor who can't be bothered. (what do I win?) I often think of my remaining life in terms of how many guitars I can build! anywho, I commiserate with you regarding fretwork... man I dread it. that said my most recent - I did thin frets... man was that a quick/easy job compared to jumbo. someone needs to design an elec fret crowner. "I don't care what it costs... I'll take it".
  6. 2 points
    Drilled for tuners. I bought a tuner hole drilling jig but frankly it's just as easy and possibly easier to just drill on my drill press. Pretty straight forward. So I will stay on the neck and look at cutting the tenon. This is the most complicated part of this build. I did some CAD drawings to figure out bridge height etc. It's tricky because it has a tenon like an LP but a flat top like a JR. So there either needs to be a ramp under the fret board or the body has to be sanded so that is where the ramp exists. I figured I'd split the difference and go with a small ramp under the fret board and sand a bit of a ramp into the body. I actually think this is what they did on the Futura and then moved the neck join location to minimize the thickness of the ramp for the Explorer. Here are the cad files and then how I will cut the tenon and angle on my CNC machine. So I constructed an angled ramp on my CNC machine and cut the tenon to the right depth. This kept a bit of mahogony as a ramp joined to the tenon, which I decided not to use in the end but it looked pretty cool. and test fit on my korina body. then glued up the fret board. I took the ramp of the sides first and will use a cut off to slide under the fret board when I glue the neck on. Glued up with hot hide glue. Gotta be vintage correct. Cheers Peter.
  7. 2 points
    Don't use wood putty! Square the blowout areas off, find some scraps of body wood, and cut and glue in replacement pieces. Then sand everything flush.
  8. 2 points
    I bought it from WD Music UK on Amazon, the trem and bits came in a clear plastic bag with no markings, labels or spec sheet (everything else Gotoh that I've bought comes in a Gotoh box with a leaflet). When I queried it with the seller, they said that the product came in a clear plastic bag to reduce their/shipping storage costs because apparently they order so much from Gotoh... But the metal felt soft, saddles were flimsy, trem block wobbled when fully tight. It was clearly fake but fortunately they let me return it.
  9. 2 points
    To be fair, that's a little bit like saying, 'I have a 50% chance of winning the lottery - I either win it or I don't'
  10. 1 point
    After finishing the 2/3 scale guitar build for my daughters I took a little time off to work on other projects. Household carpentry, building a combat robot, etc. But for the past few years I've been wanting to build an acoustic instrument, as that's mostly what I play these days. I play primarily mandolin, and I have several of those as well as a guitar bodied octave mandolin. So I thought, why not fill in the gap and build a mandola! I love the look of guitar bodied octave mandolins, which are becoming more popular. They're generally based on smaller bodied archtop jazz guitars. My octave has a 14" lower bout. And as they look so cool, and as this would be an incredibly rare bird, I thought I'd make the mandola with a sort of pseudo guitar body as well. So, it's 3/4 a shrunken down archtop guitar body with a mandolin style 'open hook' scroll ala the great luthier John Monteleone. Here's a rendering- Some specs on this - Scale length: 17" Body width: Just under 11.5" Body Rib depth: 1.75" Woods - Top: Old Growth Redwood Back & Sides (ribs): Lightly Curly Local Black Cherry Fretboard: Bocote Neck: Laminate of Cherry/Walnut/Flamed Maple/Walnut/Cherry Misc Appointments: Macassar Ebony Here are a few pics of the various woods- The top, freshly joined: The neck blank, all glued up and cleaned up: The rough cut back of local cherry. You can see a little wide curl in it: Beyond that I've cut and thicknessed the sides down to 2mm, cut the headstock angle in the neck blank, and am working on the form to be used for side bending and top/back attachment. Progress will be slow because, well, that's just who I am... And I make no apologies!
  11. 1 point
    That is pretty much it for that build. My buddy wanted a tortoise shell head stock veneer so I did that and then a setup. Here is the final shots before I sent it off. As I said this was an unfinished build so it doesn't look that great without finish but I am happy with the fit and finish and I had fun building it. Regards Peter.
  12. 1 point
    Bad news. I'm (currently) a smoker
  13. 1 point
    Magnificent. Never again will I grumble about cutting out my Swifts!
  14. 1 point
    Against modern western lifetime age expectations of a non-smoking male, I reckon I have about 14 years left. Knock off the last couple because I probably won't be able to understand what a bass guitar is, that leaves 12. So if maybe you could get a move on on that one, please. I'd love to see it
  15. 1 point
    There is some good advice in all above posts and I have the same router that Norris pictured (actually a "Trimmer") I can assure you it is very well worth buying a quality machine like that. What I notice the most with new machines is how smooth they start. They have (I think they're called Primary windings) while my father's 1960's Black & Decker power saw had no such thing and when you start it, it kicks like a double barrel shot gun Also I just posted photos of the tear-out I had in my ES-137. I hope it is helpful. Its good to find an offcut with grain running the same way, and as Norris said it is still a better way even if you're painting. When you're sanding you go in the direction of the grain to get a smoother finish. So if your patch has grain going the opposite way - or you have different material, you can run into trouble Its really worth putting in the extra time
  16. 1 point
    thank you AD! yes, total pain. one strip spontaneously combusted... literal flame coming off of it from the heat gun at med setting! was tricky because I had to get the binding really soft to do those circles at the end... probably within a few degrees of starting on fire! thought about trying to build a channel to bend the binding then apply but I don't plan on using the same f hole over and over so... I just winged it. thanks again for the reply.
  17. 1 point
    Such a beautiful double scroll! It's always nice to see attention paid to the rear as well.
  18. 1 point
    I'm done staining then painting with polyurethane on my flame maple guitar I'm in a place where TRANSTINT is Not available or any other transparent tint for my clear lacquer I try tinting with lacquer based tinting color it works but its impossible to make even color (Using foam brush), so i sanded it again back to polyurethane coat investing to spray gun might not be a good idea cause im only building one guitar can anyone recommend what to use or what to do? I want a teal blue, the yellowish color or polyurethane turns the blue into teal blue
  19. 1 point
    Yes, even in rough form you have to protect the wood as dents hit In just the right spot can go quite deep. A dent to your top means either filling or sanding to get rid of the hole. If you are lucky the Steam Iron trick might work for a quick fix. I’ve never used it myself so can’t comment on how effective it is. sharp corners can be hard to rout and tear out is common. Others Builders can chip in (forgive the pun) here but you are best doing your routs in many incremental passes. Each one deeper than the next. Also using your jigsaw to get as close to the outline as possible...although you need to take into account space for the blade to drift if that happens. i often got bad tear out when routing out sharp edges on neck headstocks. I find it’s much less riskier to sand it down to the line now. Considering your guitar body shape, you could potentially rout down the long edges but stop short of the corners, then using course sand paper like 60grit sand the corners down to the correct shape. Only a suggestion and certainly more labour intensive but manual tools remove wood in a more controlled fashion than power tools and you might end up with a better result.
  20. 1 point
    Obviously you don't drive a premium class car like my MB E-series...
  21. 1 point
    As @ScottR says, that's a pretty sound solution in it's own right. Got me thinking for my next acoustic build...
  22. 1 point
    or Yew for that matter. english long bows - you know. like i said, probably not an exhaustive list. this site has a poster with hardness for 500+ woods, but not bending strength.... https://www.wood-database.com/wood-articles/top-ten-hardest-woods/
  23. 1 point
    that is a clever tip. when you first said locating pin I thought "there's no locating pin on my drill press" then I saw the picture. mind blown. I've always done the top first halfway, then flip and do the back to meet... but the locating pin thing... have not seen that. Will use that next time. funny, first thing I look at when I see a guitar with ferrules is if one of them is slightly in front/back of the others. Can never unsee that now! what I used on my most recent is top down drill halfway then flip over, and I have an mdf template I made with the largest bit for countersinking the ferules. I have a crosshairs on the template to line up with center and approx location measured back from the end of the guitar. Just sticky taped the tamplate down on the lines... now insert the bit into the template hole and make sure you can rotate it. This got me a nice straight line... but admittedly the locating pin idea is way better.
  24. 1 point
    Get some nice wood and build the necks from scratch! Agreed, that's the most difficult part of the build but it's highly doable and you already seem to have the tools needed, at least most of them. The facet method for carving gives very nice results even for a first timer and you can choose any option you can think of. Symmetric/asymmetric tuner positioning, reverse headstock, flat or slanted headstock; one piece, two piece, striped, multi laminated... Readily cut fret slots are an acceptable shortcut, though.
  25. 1 point
    Members here will occasionally post their own audio/video samples as part of their Guitar Of The Month entry. Have a browse through the individual GOTM winners page to see what's on offer.
  26. 1 point
    right on, well I don't want to message him yet as there is zero chance of me getting down that way till saturday (traffic makes a 1 hour drive = 3 hours) but later in the week I'll probe him for some more info on what he thinks it is, how thick it actually is, how recent it was cut, etc. right on... well my recent experience trying to carve a maple top was really more physical effort than I'm willing to do very often (yes I'm that lazy) but I have an idea on how to setup a jig to do the majority of a les paul carve via router... then again not sure I want to be running a router on something that is hard as a rock! from what I gathered, that ironwood gets it's name from the fact that it is "hard as iron"... which doesn't sound like fun! but oh that color... might be worth it.
  27. 1 point
    I've seen cat's whiskers that were thicker than that. SR
  28. 1 point
    A beck that isn't oiled isn't a beck that's worth listening to frankly. The binding on my builds isn't think at all normally, I use the smallest rebate my router bits will do which is about 1,5mm, it just looks thicker because it's rounded over maybe? My rationale for thinner binding is that there is more fret with tang so it's easier to get the fret ends to stay down over the binding.
  29. 1 point
    funny, you addressed my question before I asked it... hehe. "Nevermind the logistics... will the height screws scratch it?" Seems like it would def be an improvement on the acoustasonic design in that the intonation/string-height will be adjustable... good call.
  30. 1 point
    @curtisa There's a rogue foot in nearly every photo and it wouldn't be xmas without a tiny of quality streets Frets are in the bass - I say frets, they're more like load-bearing steel girders, it's Sintoms 3mm stainless jumbo wire. Won't be in a rush to do these again for a while. They were a nightmare to get in. I bought pre radius (12") lengths so they didn't need bending (because my Crimson fretbender is shit and won't bend stainless) but I had to wick fine superglue into the ends and hold each one down for a min or so to keep the ends fully down. Got them all trimmed and bevelled this evening. I used my new Crimson end cutters as they were advertised as being able to to cut stainless frets. Happy to say they cut them with ease, in fact they were more efficient than trimming with the metal cutter on the dremel. Also made a start on the other one. Again using pre radiused lengths but this time it's Sintoms 18% nickel silver. I got them all cut to length and got the 24th fret in and glued, so I can leave it over night to dry so it doesn't work loose when I hammer the others in - this is the one where I was worried about the fret seating and staying in due to the inlay take up so much room. I flooded the slot with medium viscosity superglue before tapping it in. Happy to report it tapped in fine and stayed down, even in the middle where there isn't much to catch on to. More fretting tomorrow, I think I'm ahead of schedule
  31. 1 point
    All I can say is welcome! Looking at the diagram @mistermikev linked to made me want to get more beer to forget all about such things ever been suggested to a guitar. Hopefully you know what you're talking about so here's to an interesting build follow-up!
  32. 1 point
    it occurred to me that perhaps the big end should go down,. as that might help keep the pickup level with respect to the mounting frame, as well as reduce the tendency to rock back and forth on the screws and springs, or the tendency to simply tilt towards or away from the bridge, instead of laying flat.
  33. 1 point
    Hi, @TheRavenOfDiscord and welcome! Excellent - another bass builder! Although I am personally a guitar player more than a bass player, I have certainly built more basses than 6-string electrics and most of those have been through-necks. In fact, all of my full bass builds have been through necks - although I have made bolt-on neck replacements for 4, 5 and 6 string basses. You talk about 30" being relatively rare. Well, certainly in the UK it used to be, but here there is a growing realisation within a lot of bass players that, nowadays, you can get just as good a sound from 30" basses, you can get great strings for them and they are MUCH easier to play than a 'standard' long scale. It is interesting that nowadays, I get more enquiries for short scale than I do for long scale... There is a lot of wisdom already expressed in the above replies. Re-iterating some of those answers and adding a few of my own: - The end of your fretboard is going to be around 23" from the nut, leaving you 7" for your pickups. That's plenty. Are you going Jazz pickups or P-type? or PJ? - I build my guitar necks and bass necks to the same thickness. It usually ends up at around 21mm /22mm at the 1st fret (spine to top of fretboard) rising to around 23mm at the 12th. That is usually with a max thickness of 6mm fretboard, so it breaks down at 6mm fretboard + 11mm trussrod & trussrod cap slot which leaves me a minimum of 4mm/5mm timber underneath the trussrod - I don't fit carbon fibre reinforcement rods for 4 or 5 string basses unless specifically asked. I do add rods for a 6 string bass - I usually do a 3-laminate neck with the middle one being a 6mm splice. 5-piece laminates are great and I have done them at times, but I've never had a warp or twist issue with a 3-piece. However, I always use quality timber from trusted sources for the necks. I'm usually happy to use any structurally-sound timbers for the body! - I fit a single, good quality 2-way trussrod. I personally think you can introduce more problems by fitting two trussrods than solve them. If the neck wood is straight, tight grained, properly seasoned and in the right grain orientation, and the fretboard likewise is a decent hardwood and flat, there should not be any warp issues in normal use and storage. One last tip. With a through neck, remember that any neck angle needs to be built into the neck before the body is built onto it. Therefore you need to know what bridge you are going to use up front so that you can sort the geometry correctly. Personally, I physically get hold of the bridge first and check the ACTUAL adjustment ranges and then draw the nut/fretboard/bridge lines full size to work out the angle I need to build into the neck blank. Very much looking forward to seeing your build develop! Andy
  34. 1 point
    Mandolins, mandolos and their assorted kin have rather elevated neck angles to maximize the string tension across those floating bridges. I rather like the look and find them plenty comfy as well. SR
  35. 1 point
    as mentioned by many I'd def work off of some sort of plan - a lot of your fretboard length questions can be answered (with no math!) via the 'fret2find' portlet here on the forum. Its a browser app that will calc out fret sizes ect and create a pdf/jpg. I'd start there... create an image of your fretboard and build the body around it. I've build a 32" scale bass, and it's awful comfy compared to a 34... a 30 should be pretty small. I don't think reinforcement would necc be required given such a short scale... but it probably doesn't hurt. I would think your big hurdle is going to be 30" scale + low b string - she is going to be very low tension. at that point you start thinking about really high gauge strings and we're back to needing reinforcement. anywho... welcome aboard!
  36. 1 point
    Welcome...build looks great. Super Strat - man after my own heart. I look forward to seeing this one develop.
  37. 1 point
    "... You are not authorised to download this attachment. ..." Ow. Your layout hurts my brain The EMG documentation for the PA2 practically gives away the circuit layout for free minus the fine details on exactly what component values to use, but you can probably guess them based on common practice for opamp buffering used in pedals. From your layout, the first half of the TL062 does variable clean boost from 0 to 20dB, as per the block diagram in the EMG product manual. Second half of the TL062 doesn't appear to do anything in your layout, whereas according to the EMG literature it's used to provide a plainjane 0dB buffered output for active or passive pickups whenever the boost switch is disengaged. In your layout I can see what appears to be 2x BI connections (BI = buffer input?, supposed to be jumpered together perhaps?), but then BO (buffer output?) doesn't go anywhere. The top BI pin also appears to be jumpered to ground; mistake perhaps? Your push/pull switch seems to simply bypass the whole lot and short out the output of the 20dB boost stage. I suppose it achieves a similar function to the original, but you lose the low impedance buffering action whenever the boost is disabled.
  38. 1 point
    for some reason I always have to fight temptation to constantly clean my slots... probably because once you have binding on (if you do binding) you want to have them clean. I usually blow them out repeatedly, and freq go in with a razor blade that I've dulled down. ok, ok... perhaps it's just because I'm ocd about it. If you ever want talk about it... you know... just rap... I'm here. (Fret dust haters anonymous - I might be the only member).
  39. 1 point
    I found myself cleaning the fret slots often, I slotted first then sanded radius....should I just leave the sandings in the slots until the radius is 100% done? Can I "overwork" the slots making them too deep/wide?
  40. 1 point
    @mistermikev is adult enough to know that we rarely adult ourselves, going off on discussions....and is free to shut us down since it's his thread.
  41. 1 point
    Thanks Mike, I look for others thoughts, It still is not to my liking yet. Getting there though. I am thinking for the prototype not to worry about the arm carve. LOL!! Just not sure how the oval soundhole will work as well as it being slanted? Acoustics are funny beast. I've built enough standard stuff to recognize that. Still have to play with bridges. I think I have a solution for using a hardtail style Strat bridge. Wink! Wink! . Sort of like when I used a TOM for a biscuit bridge reso. I was told it would not work? Well they were wrong. LOL!!!! MK pic shows with a standard sound hole?
  42. 1 point
    You're right about every builder having their own order. And since they all create guitars, each one is right! The neck can and usually is finished after fretting. As the name "finish" says, it's one of the final tasks. So that's perfectly fine at this stage. Building the neck is a common way to start. Routing the truss rod channel at an early stage may be advisable as fastening a square blank is easier. Yet there's variations on the subject. You can use a fence to guide the router, you can use a template. Handheld or table router... Not to mention the three ways to make a channel for a single action rod! Anyhow, the channel is important to be carved quite early. After that, cut the neck to a rough shape to remove the bulk of the wood and let it rest for some time to let it move if it wants to. Then put the truss rod in and glue the fretboard on. You can cut the fret slots before or after gluing, both ways work. Same goes for fretting, you can shape the neck first and fret when you know your neck hasn't moved with the last shavings or you can trust the wood to be dead and hammer the frets in before the final shaping, using the offcut as support. The neck can be built fully built before even planning the body, although finishing the entire instrument at one go may be advisable. Now that you've got your neck done it's time to move to the body. If you have a separate top, route the wiring channels on the body. After gluing the top (if you have one) carve the neck pocket. Try to pay attention to the center line especially if you have a bookmatched top. When you've got the neck snugly seated, mark the place for the bridge and pickups and route them. At this stage you may want to cut the outlines of the body. Route the control cavity. If you're building a carved top like an LP, start carving. Drill the wiring channels if that has to be done through the neck pocket. When the body is all finished, attach the neck. Double check the location of your bridge and drill the necessary holes - don't forget the ground wire from the bridge to the control cavity! Fine sand, moist to raise the grain and make scratches visible, fine sand again, moist again, fine sand again... Let your hands rest a day in between to revive their sensitivity as your hands can feel any imperfections your eyes can't see. Apply the finish of your choice. Install the hardware and electrickery. Play. Fix issues and play again.
  43. 1 point
    Shouldn't be any different to placement for any other bridge. Only thing I can think of is that it is possible to position the saddles on a Floyd Rose so far forward that they overhang the leading edge of the bridge plate, which can damage the guitar top if you divebomb the trem and they happen to dig in to the wood. Even 60% travel on the saddles is far more than you'll ever need for placement. Intonation compensation on a guitar will always mean that the per-string scale length will need to be marginally longer than the planned-for value. Even if you position the bridge with the saddles 100% forward, you'll still find yourself backing them off away from the nut once it's strung up and tuned. Saddles that need to go towards the nut after the bridge has been placed suggest that the bridge wasn't positioned right to begin with or there's something skeewhif going on with your fret placement.
  44. 1 point
    Chances are the slot was too shallow in one spot, or there was some dust in there that compressed under the fret creating a shallow spot, the other thing that happens, if you don't get the edges of the fret seated prior to hammering the middle, the fret flattens out and its harder to the edges down, especially with stainless steel frets. You could try the steam/soldering iron trick, but my experience with wenge is that it's very hard and quite brittle, so it will be less affective as it is with other woods.
  45. 1 point
    every time I see this thread title i think "you and me both sister". Man, I really struggled with my first few fret jobs getting the frets to seat properly and the above advice (chamfer the slot) really helped (probably was curtisa who suggested it to me as well). looks right to me assuming we are getting a side view looking down the fret slot. that said... getting the proper slot dimensions matched up with the proper fret tang was an equally helpful convergence. then from there... getting a proper fret caul, and mounting it on a vise grip... took me the rest of the way. my last fret job arrived action on par with the best I've played - and req very little fret filing/crowning. here's to it working out for you!
  46. 1 point
    Almost certainly inlay. Looking at the age of the instrument, probably ivory. And master craftsman type of stuff. It's the build your own home equivalent of this
  47. 1 point
  48. 1 point
    Of course I did! My ideas are brilliant, the level of implementation not that much.
  49. 1 point
    When you posted, this was on mine: It's a save in progress of a very nice Sei headless bass that had developed a very large crack in the top that was cupping away strongly from the centre-section. This is the gap that those clamps are closing: Here it is fixed: And the saved Sei
  50. 1 point
    BigD's videos on youtube are great, especially when you get to staining and finishing, the Crimson videos are great too but I would order by oldest first and watch those, the newer stuff is a bit click baity and not as informative. Before I attempted my first build, I watched Ben's 25 hour series and clarity build series - there is enough info in those to get you through the first build. The other series I watched which I think was my favourite of all, was Freddy's Frets - Building Les Pauls series. My first build was a set neck, carve top Custom 24/Mira design, but solid and I only carved it with rasps as that's all I had, but you should be able to put a nice back carve in the top with the angle grinder. Your video is tempting me to get one, I like carving by hand and done a lot of it lately but I can't remember a day where I haven't cut myself
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