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Showing content with the highest reputation since 05/23/2018 in all areas

  1. 5 points
    The Osage Orange polished up nicely. I'm starting to really like this Osage Orange and walnut combination. SR
  2. 4 points
    This archtop is very dear to me as it is not only for a dear friend of mine but it was also a super-fun platform to innovate on since I had control over most of the specs. Essentially I had to use black and white ebony, amboyna burl, and it had to be an acoustic archtop in my Model1 shape. Other than that the rest was up to me! So I played with some fun things like: A bolt-on version of my compound-bend all-access neck joint Radial purfling using burl Carbon fiber (neck, neck block buttresses, and laminated in pickguard) 3D printed structural elements (can't really see them though) Charlie Christian pickup Completely hollowed ebony bridge Oval hole and fan bracing Back-strapped diamond volute Here she is relaxing in her new home: The specs are: Curly maple neck, back & sides. Note: the back is domed like a flat-top not carved. Carved sitka spruce top with ebony binding and tons of crazy multi-layer purfling. Black & white ebony fretboard and tailpiece (veneered in normal ebony expect the "wings"). Hollow ebony bridge and CF-laminate ebony floating pickguard. Buffalo bone nut and saddle. 25" scale board with 12" radius and 1 3/4" nut. Finish is odie's oil neck with satin nitro headplate. Body is all done in an tru-oil with some additional wizardry to keep it from soaking deep into the top and potentially hurting the acoustic resonance. One thing I want to point out that doesn't matter for the final product, but I'm still proud of: I decided to fully hand gramil all the binding and purfling channels on this box. What a process... won't do it again... but glad I did it once so I can truly appreciate binding jigs and bearing bits! If you'd like to learn a (lot) more about this project, it's history, why the specs are what they are then feel free to waste 30 minutes here: Best, Chris
  3. 3 points
    Hello. I just stumbled on the site and thought i'd stop and say hello as it looks a useful resource for a complete novice (in every sense!). My little one wanted an electric guitar but every part of learning to play blows his mind. I thought we could have a bit of fun together and knock up a tea chest esque soundbox twanger stick type affair. It ended up going a little off topic and we knocked up this little baby monster out of an old oak table leg and a slab of counter top. Not having a workbench made it a challenge as building a guitar on a stone doorstep is not without its pitfalls but we cracked on with it anyway and ended up with this gnome sized 3 string 26" long fretless pocket sized metal guitar thing. He loves it and is starting to find his fingers, I now find myself thinking about making a sensible full sized guitar and hopefully picking up a few shreds of knowledge to get this and the next one sounding a bit better! If you can bear with me I'm sure mk2 will be a bit more in keeping with some of the other starter guitars here. Ta
  4. 3 points
    I never refuse to learn anything new and in fact am still learning how to build and play guitars and I doubt I will ever stop.
  5. 3 points
    So I picked out a 6 ft 4/4 Black walnut board, cut it in half and surfaced each to flat for gluing. Machined the basic outline and the head stock pocket. The close up is without any after prep. straight off the machine. I am pleased with no tool marks. Minimal sanding will be required. I will be using Gold hardware, I know old and whatever, I have a bunch leftover from some years back, trying to keep this on the cheap for this test. Will have 2 volumes no Tone or Switch, keeping it simple. LOL!!
  6. 3 points
    Progress has been slow lately. Ive been super busy with work and other things. Today was the first time in a couple weeks ive had time to relax and work on projects. Camera was dead earlier, so no progress pics. But there is this...
  7. 3 points
    Time to make the neck look more like a neck. Marking it out and locating tuner holes. Let's cut away most everything that is not a neck. My rabid beaver makes an appearance. Cheers @RestorationAD He did clean up after himself. SR
  8. 3 points
    I did also cut and glue up a headstock cap of Osage Orange. SR
  9. 2 points
    Caution! The following post contains slapdash methods. View at your own risk. The headstock was too thick. I could string the Hipshot locking tuners, but just barely. I wanted to take down the back 1mm, and considered my router planning box, getting the Stew-Mac drill press planer, etc. ... but today saw my little router sitting there and just set a 12mm bit to .9mm and "went to town." Two minutes later routing done, grabbed a#100 then #320 then #800 Scotch pad, and Voila! Paper-toweled Odie's Oil over the whole neck, and will spend a couple days to put probably 5 applications. Headstock is dead-on thicknessed ... probably better than it was before.
  10. 2 points
    Weather report yesterday morning ..."Rainy season will start in the next few days, expected to last 40 days (and 40 nights, I suppose)." So I thought, "Shoot!" ... as in spray paint . I was pretty satisfied with the bevels, and tried about a dozen different pore stains, grain fillers, clear tints on little cutoffs, but nothing spoke to me. I took a good look at my Chinaberry bass, which is just a clear urethane rattle can (Washin Paint's clear has a touch of amber), and thought I'd give it a shot. (pun intended). No filler, I will just sand this down to wood and then put two more coats. MY previous experience has been very good ... it cures pretty fast, it's durable, it sands well, it self-levels pretty good, and it's easy. "And I even like the color!" (that's movie quote, btw)
  11. 2 points
  12. 2 points
    I don't care what people say, this old dog has learnt a lot of new tricks since I retired, You are never to old to learn you just need the right attitude. Forums like this really helped me to get inspired not only to make guitars but to make a whole bunch of other wood related stuff. My latest toy is an Inventible's X carve cnc, which has got the biggest learning curve of all the tools in my workshop but hey learning is fun and it helps keep that old grey matter alive.
  13. 2 points
    You're only old when you quit playing and refuse to learn anything new. There's always something awesome to pick up or learn. I just can't get enough of that, anyway.
  14. 2 points
    Thanks. I copied the the areas I filled in from the vector file and lowered the opacity on photoshop. Then I used the eraser with a very low hardness to taper in the edges. All about the layers
  15. 2 points
    Hammering frets is easy. If you're worried about marring the fingerboard, put a piece of masking tape either side. Bevel your fret slot with two licks of a file, place the fret in and tap each end home with 2-3 light blows. For the second end I put my finger on the other (located) side to prevent it springing up. Using something that you can't control - like a block - or worse, something that blocks visibility. Yeah. Get some practice in on scrap if you're not confident. The fewer tools and accoutrements that you can use, the better. Fretting isn't as much of an esoteric art as the tool sellers might have you think.
  16. 2 points
    Here's the view from the front. It's unconventional, but it completely solved my knob obstruction problem and I gained two killswitches in the process.
  17. 2 points
    C & D are nice. I prefer C since it reminds me very much of the inspiration for my personal furniture work:
  18. 2 points
    I use a similar hammer--albeit not so fancy looking, and and a roughly 5" long piece of aluminum bar stock. The aluminum doesn't mar the frets and I can slide it across the tops of previously inserted frets as I'm tapping in the new one. It gives me a bigger target for the hammer and makes it less likely that I will mar the board. SR
  19. 2 points
    Improper slot depth or obstructions in the slot preventing the fret seating properly in the middle would be my guess. Over-bending the fretwire is actually preferable. The action of hammering/pressing over-radiused fretwire in the middle provides extra wedging action for the barbs at the ends to bite into the wood. The barbs in the middle are pushed down vertically, and the barbs at either end of the fret are simultaneously pushed away from the middle as the fretwire radius gets gradually flattened out to match the radius of the fretboard, thus helping the fret ends lock in tighter to the slot. Only if the radius you are buying for is smaller than the radius of the board you are fitting them to, or only if you are buying stainless steel fretwire, in which case the radius of the wire must match the radius of the fretboard (SS wire is much stiffer and will tend to spring back out if the middle is forced into a flatter radius slot than its pre-bent shape).
  20. 2 points
    Well, I haven't been able to "reveal" any of the video build work - more accurately the proof builds - as it blows the whole thing. One needs secrets and surprises.
  21. 2 points
    Headstock cleaned up nicely. Adding the side dots. Not too much contrast now, but that will improve as the fretboard darkens. And the board has been radiused and MOP dots added. SR
  22. 2 points
    A few images from the build video in the previous post:
  23. 2 points
    Yeah, been a while but I'm still here and working on a number of builds that will present themselves over the coming few weeks. The first, in celebration of this glorious sunshine we've been having, this yellow SS (actually not influenced by the sun at all, but an idea I had some time ago) in the typical "bridge-only-pickup" style. I went for chrome hardware after seeing an old ESP in a very similar yellow with chrome and thought it suited. Full spec: Mahogany archtop body, Maple three-piece bolt-on neck w/ reversed head, Wenge fretboard w/ binding, Gotoh Tune-O-Matic bridge and 381 Series tuners, Seymour Duncan Distortion pickup and matte Cadmium Yellow finish...
  24. 2 points
    Still no mandola update, knee deep in house projects. But this is at least instrument related. I came into a rather nice supply of walnut! My father in law and brother in law bought all the hardwood off a family friend whose father, an avid woodworker, had died several years before. He and his mother decided to clear out the house, and the guy had hardwood stored everywhere. This lot came out of the attic! We still have more to move, and more of it will be mine, but this is a couple hundred board feet that they were nice enough to give to me for helping them lug wood around. Pretty sweet deal! Some boards have cracked ends, some are rather strangely sawn, but many are beautiful, including quite a few figured pieces and some live edged boards. I'll use some for instruments, some for furniture, and some for other smaller projects. Walnut has started to get ridiculously expensive, so this was quite a windfall!
  25. 2 points
    I feel like I am probably wearing out my welcome by constantly posting minor updates... sorry y'all! anywho, this week I got my neck shaped: as many suggested it was a very satisfying experience. I found a diagram of fender custom shop neck profiles and decided I'd shoot for the "60's P bass oval C" profile. I used my planing jig to put in a taper a hair north of .79 at 1 and .95 at 12th(more like .85 due to a 3/8 truss rod - I didn't want to end up with much less than a quarter on the bottom). Then I did two facets as google had taught me. From there I winged it and at the end did a lot of sanding with the profile of my hand. Feels great! I cleaned up the knobs I made and if you look close you can see the small access for my truss rod that I cut. also cut some relief for my tuners... don't know if I need it but thought it might echo the body nicely. then I figured I might as well get started on my active preamp... The other day before work I whipped up a nice compact layout for a "Pre ernie ball sabre2 bass preamp" - based on baja's schematic (the man the legend - thank you baja!). Below you can see it in the bag as I ironed on my press-n-peal blue and doctored it up with an etch marker. about an hour and a half of etching using ferric chloride and voilla wired it up knowing the top side(trimmer) would be exposed via my f hole, so I did all the wires on the back... and put it in my test jig and blamo - works right out the gate. labeled all my wires for convenience later and saturated the top with liquid tape... will hide it a bit, and prevent unintentional shorts. Note the LM4250 above... I'm told they have a really low current draw and will allow a 9v to last for years under normal usage. I have used them in other basses and am a believer... still haven't changed a battery in any of them while I've changed them a couple times in my lakeland tetsuya clone, and alembic stratoblaser clone -which were both built well after. anywho... thanks for listening!
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