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Showing content with the highest reputation since 11/14/2018 in all areas

  1. 5 points
    It turns out that I enjoyed that so much I just let it drag on, and then it got cold and rainy and I decided to save the neck set for next weekend. I'm pretty much building this one because I like to and I can....and for no other reason, so why not? This osage orange's grain patterns look so cool from the quatersawn and end grain view. And it feels silky to the touch. I think I may have found a new favorite neck material. SR
  2. 4 points
    Gotta love love long weekends! I even got time to start carving the neck join. SR
  3. 3 points
    Hi, I'm Ash, a hobby builder from Oxfordshire, UK. I've been a lurker for a little while but posted detail of previous builds on the Crimson Guitar forum. But I thought I'd start posting here I've been woodworking since Feb this year after getting hooked on videos by Ben Crowe and Paul Sellers. Here are a couple of my previous builds: #2 - 30 fret PRS style build - 2 piece khaya mahogany body, 1 piece neck of the same, spalted flame maple top, and headstock, gabon ebony fretboard with flamed maple binding and bar inlays, hardware is all gotoh with a PRS HFS pickup and PRS volume and coiltap. Stained with artist oil paints and finished with Crimson guitars finishing oil. #4 - my first commision - 25" scale LP type guitar made from wenge body and neck with a flamed sycamore top, macasar ebony fretboard with flamed maple binding and headstock. The entire upper bout round to behind bridge on this one is hollow but it still weighs in at a hefty 9lb once hardware was in. Again, PRS electronics with Holcomb alpha omega pups, schaller signum bridge and sperzel tuners. I really like the feel of a wenge neck but I wouldnt hurry to use it again for body wood. Again, oil finish but this time I used a water based dye to try and create a charcoal effect. This top had a knot in it which was a real PITA to carve, I flooded it with superglue before carving then resign afterwards, in hindsight, I should have flood the top with resign while it was still a blank. #5 - Another commission - currently I'm on the finishing process. Another PRS style build, a bit of a mish-mash between a custom 24 and a mccarty style guitar as it's 24 frets and 25" scale but with a tail piece. The player has several les pauls so I tried to make it a bit more gibson with 12" radius and a slightly thicker body and deeper carve in the top. For this one, I started with a 1 piece khaya mahogany body and a 2.5m plank of flamed maple. I used the plank to make up the top and laminated strips of it with some offcuts from #2 to make a laminated neck, in fact I used the same plank to make all of the maple on this guitar, including control cover and inlays This was my first serious attempt at cutting fretboard inlays, using some les paul plans and hand cutting them all, about 20 hours in total to get them cut and inlayed.
  4. 3 points
    I made a leather strop for my chisels, gouges, and plane blades. Good lord, what a difference it made in the sharpness of the tools. After sharpening and then polishing the plane blade with the strop, planing the maple and bubinga was just pure joy, even with a cheap, poorly maintained hand plane. I got so crazy with it that I stropped all of the knives in the kitchen, and of course warned my wife that it would take a lot less pressure to, say, cut up a pineapple. Now if one of the knives gets dull (from, oh I don't know, my mother in law using it to open a can of sweetened condensed milk) we feel like stone age cave people hacking at their food with shards of rock.
  5. 3 points
    True true. The people that keep chipping away get more done than those such as myself who plan endlessly, then wonder where the time is coming from, or where it has gone!
  6. 3 points
    And headstock faceplate is done.
  7. 3 points
    Got a few done over the past few weeks. Happy thanksgiving!
  8. 3 points
    I present this "Ferrari" Flying-v custom guitar inspired in the guitars that usually plays Rudolph Schenker from Scorpions, one of my favourite guitar players and bands. This guitar is so special for me not only because I love V's and explorers, but for the difficulty of the finish due to the two cameras in the wings of the guitar. She has been a really challenge for me. Hope you like! You can find more pics of the complete evolution of this and other guitars in the following link: Specs: Body: Bubinga central block&Spanish cedar wings&AAAA maple top Neck: European maple Fingerboard: Ebony Fingerboard radius: 12” Frets: Wide high Scale: 24.75” Number of frets: 22 Nut: TUSQ Inlays: Acrylic “ROCK YOUR LIFE” Joint type:Glued in Hardware: Bridge: Tone pros Tune O’matic Tuner machines: Gibson 3+3 Pick guard: Aluminum Electronics Neck pick up: N/A Bridge pick up: Tokaa handmade in Spain Controls: 1 x volume, 1 x tone Finish: Hot Rod Red polyurethane I add a vídeo that a Scorpions cover band that tested the guitar sent to me, cause I think is interesting in order to hear the guitar. If is not allowed to put this video tell me and I automatically delete it! Scorpionscar
  9. 2 points
    I have personally traveled on boat along the amazon river, experiencing the astonishing beauty of it. Also, I experienced firsthand how the rain forest is treated ever so brutally. And it is not just one persons observation. Around 80% of all mahogany from for instance Honduras and Peru are expected to being logged illegally, according to various sources. Rosewood is protected for really good reasons. Just google for yourself. I do not want to contribute to that. This fact made my planned purchase of a new guitar a bit harder. A guitar without any endangered wood basically limits me too a Fender and some copycats of it. And that Fender-ish guitar should rather have humbuckers, large jumbofrets and a dark fretboard, not being rosewood or any other non-sustainable wood. That basically limited me to building my own guitar. I grew up on a farm in Sweden and we have lots of high quality wood there growing as a weed basically. My idea is to eventually use ash, that should be well suited for a neck. We made a shaft for a sledgehammer for it once, and it did not budge for anything. Using thermal treatment, as the vikings did in this land 1000 years ago, it can be made darker and even harder if desirable. But, there was a long time ago I did any hands-on wood work. So i thought, maybe I should warm up with some low-quality kit first on my journey towards a true self built guitar made out of sustainable wood. Starting point and goal Said and done, today the Thomann Harley Benton DC guitar kit arrived together with some tools and hardware upgrades. Some specs Thomann Harley Benton DC guitar kit Seymor Duncan Alnico ii Pro pickups. Mostly because all people on the internet seem to get a Slashy-ish tone with them that is just amaaaaazing. From what I can hear, the attack is really great on them. Another idea is that they might balance the probably slightly brighter softwood used for the guitar. Audio taper pots that are supposed to be from CTC (says Allparts on the package though).. I saw some Youtube video where the CTC pots performed great regarding characteristics.. Split-coils. I have played some guitars that do split coil really well, so I thought, why not try tone knobs with a switch. Stainless steel jumbo frets. It sickens me when frets wear and vibrato and bending starts to feel awkward. Maybe these stainless frets are worth the hassle the internet is talking about. Cherry dye/stain over charring. Going to give it a shot. I did some prototyping on a piece of pine you can see in the picture. My goal is to make this into real, badass, screaming, highly playable premium guitar. The reason for the cheap kit is because I want to experiment and learn. Funny thing, the pickups cost more than all other things so far together. I think I will land on around 500 euro for everything including paint, to pickups to pick wearing for this guitar. We have a gig in three weeks and I hope to be rehearsing with this guitar well before then. Harley Benton DC guitar kit The DC kit as a neck made of all maple and a dark fretboard. Thomann states that it is roseacer, which is supposed to be thermally treated maple. The only thing I can say so far is that it seems real hard, which is good. It might be laquered, and I would like the surface to be a bit more roughened. It is not clear what the body is made of, but it is light and soft. When calling Thomann, they did not know. I would be very surprised if it is some expensive, threatened wood. The fretboard and the fretwork is the worst I have ever seen otherwise on a guitar or any other instrument, literally. The neck is twisted so badly that I am considering using it as an airplane propeller. Frets are popping up everywhere, and feel like stroking a rasp when grasping the sides of the neck. When trying out the fret rocker, it popped up and down like a horseback when storming over the prairies. Silverlining though, the fretboard is compound radius. My radius gauges arrived today and they concur with my ocular observation: the neck is around 14" by the last frets and 12". If it weren't for the custom-screw shaped neck and the razor-edged-popping-up frets I would have thought I gotten my hand on something real fancy. Then, is see that the neck joint slot is tilted a lot so the neck is inclined forwards. Ughhh. This is not a beginners guitar, it is a wannabe-luthier (like me) kit. Because I don't think a real luthier would or should waste time on it, and a beginner would waste their time on a guitar that is hardly not playable, eventually giving up I think. However, for the price I got a bridge, knobs tuning screws and what not for a lower price then if I had bought it all separately. Probably I will use the pickups for some random fun build later. And, I was hoping for a challenge so I, the wannabe-luthier, feel good about the starting point anyway.I am really happy about the dark but non-rosewood freboard too so far. But is has lower quality then my expectations even, and I feel bad for anybody picking up this guitar thinking it should be decent as is. Next step Fortunately, I am not embarking empty handed on this grand voyage. Just because I wanted to learn how to do neck shaping I started collecting tools this week (yes, I am a newb). In the picture you can see some aluminium beams that I picked up behind my fathers barn, that underwent some grinding and polishing. These are going to get some sand papers on them tomorrow and helping me clean up some of the described mess. Furthermore, I got a Hosco 10"/12" fret radius gridning beam. Also, I built my own 28 degree angle fret file holder and bought a kit of jumbo fret wire, both stainless and nickel. Cherry stain and varnish is already purchased, now off to the hardware store tomorrow to get the rest and then start the grinding. Over and out.
  10. 2 points
    I suspect that your dull areas are actually burn through. I have never had a problem re-coating areas and getting a gloss where I've sanded through. You can get a high gloss on bare wood with super fine grits like 3000 and then have those areas go dull with compound. The abrasive in compound is free floating in solution and some with remain in the pores/fiber of the bare wood and leave it looking matte. And if you are repairing the burn through areas with a thin layer of oil and wiping it off quickly you are likely not getting any build up at all...which makes another burn through in the same spot too easy to do. My only secret for tru-oil is to get a very thick layer on before leveling. Two or three times what you want the final thickness to be. It shrinks a lot, so without touching it, it the thickness will reduce closer to the final desired thickness. And as Andy says, its initial hardness is much softer than the hardness it achieves after the shrinking stops. It feels hard and takes a fine polish but more is being removed during that polishing than you think.. SR
  11. 2 points
    Certainly commiserations, @mistermikev ! In all aspects of all the builds I have done, gloss finishing is my bette noire. Amongst the various methods and finish types of non-spray finishes, tru-oil gloss is, to me, one of the most difficult. It is why I am always agog and full of admiration of @ScottR 's results. I'm not one to give advice here but for tru oil, 3000 grit with a compound strikes me as probably much too harsh. I note that Scott uses micromesh cloth running up to 12000 grit (which is basically the same material that ladies use to buff their nails). And I'm not sure he uses a compound. Also, particularly with tru-oil, I found that the hardening time before any polishing starts is critical. Personally, I would hold fire before resorting to polyurethane - which actually has VERY similar issues and obstacles - and maybe hone in with the experts around us to the - probably small - tweaks in your technique to get the tru-oil finish you are after.
  12. 2 points
    So you'll be rebuilding this one around the jack socket then?
  13. 2 points
  14. 2 points
    There are two types of people. Well, maybe more, but two types I'll describe here. One type (like me) says, "I only have two hours to work on the guitar this week, I better rush everything." The other type (like Norris) says, "I only have two hours to work on the guitar this week, I'm going to drill two holes as perfectly as I can." I need to be more like Norris.
  15. 2 points
    Well at least it might give inspiration to the casual lurker who thinks they haven't got time to build a guitar. You can put whatever time you can spare into it. Just keep chipping away. Once I've finished rebuilding the engine I'll hopefully be able to speed things up a bit. Gigging at the weekend regularly doesn't help with either Thanks for the encouragement folks
  16. 2 points
    So decided to go another direction with the color. Made lots and lots of samples and I ended up going with blue. I in turn also decided to bind the headstock plate and make pickup ring covers out of some extra mahogany I had. Was fairly successful but one of my holes was a little to close to the edge so i have to make a new one. I'm also up to knob design 4 now. Still haven't chosen one I've liked. I know I want it to match the guitar in either the mahogany or the gold. Not sure yet. lol, just noticed my pics are going through all the seasons. Well, this one includes a fair amount of dog hair too!
  17. 2 points
    Progress is progress. @Prostheta would be proud of the painstaking care you are displaying with this build. SR
  18. 2 points
    Yeah Scott it’s definitely different, it’s supposed to be super comfy and help with hand ache, we will see how it goes. As for the black limba s22 I guess it’s gone on to its new home lol, I gave it to my photographer for pictures and he said he liked it so much I’m not getting it back so he bought it lol. I’m really gonna miss that one!
  19. 2 points
    The workshop has been closed for a couple of weeks for repairs to the extraction system. We were back last night so I put an initial rough radius on the board. I have an inlay to do at the 12th fret, so this will do for now. A straight edge, flat caul with 80 grit stuck on with CA, and a radius gauge (old skool again)... I also started tidying and trimming the shoulders of the headstock on the spindle sander
  20. 2 points
    The Blue Lagoonitar . . . despite it's odd appearance (I enjoy building odd instruments) this critter plays. Here's a video. The Blue Lagoonitar Video What we have here is a, 4-string, tenor, rectangular, resonator guitar featuring a cone cover that is in fact the mutilated hubcap of a 1961 Ford Falcon. It's painted with Rustoleum's finest "Lagoon Blue" gloss enamel, and the body is from whatever bits and pieces I found lying around the shop. If memory serves (and increasingly it doesn't) the instrument is mostly oak and poplar, The technical aspects of this blue reso are similar to most other such guitars, with the obvious exceptions being that this one is Rustoleum blue, rectangular, and has the aforementioned mutilated hubcap (not to mention a hand hammered tailpiece carefully crafted from 24-gauge sheet metal). Here are the deets: Scale: 25" scale • 15 frets to the body Body Size: 12" (and change) wide, 19" (and a smidge) long, 4" (and a drop) deep. Total Instrument Length: 42" (give or take) Sound Thingies: 9" resonator biscuit cone (Stew Mac house brand . . . no gravy with these biscuits . . . sorry) Cone Cover: 1961 Falcon (artistically mutilated with my $9, Harbor Freight angle grinder) Amplification: Internal Piezo Pickup with volume control (Not to be confused with a pizza pickup, which is what Papa John's offered before said Papa got himself banished. The piezo is encased in rubber cement and recessed in the the guitar's center stabilizer. Very little handling noise) Neck: Mostly oak . . . hand carved and filed to fit my hand (mostly because I didn't have your hand size). Steel reinforced ala the old Stellas. String Height at Zero Fret: 2.5 mm (or thereabouts) String Height at 12: 5mm (or so) Neck width at zero fret: 1.25" (close enough) Neck Width at body: 1.5" (or damned close to it) Weight: Roughly 1/6th that of my dog (about 7.5 lbs)
  21. 2 points
    The Root Beer Float OK, its a stupid name, but I dont have a better one yet and my band mate threw that name out as soon as I brought it to rehearsal 2 weeks ago. The colors do have that vibe, especially in lower light settings. In brighter light (like most of these pix) its more orange looking Model: 22 Magnum Scale length: 25" Radius: 12" Construction: neck-through-body, 3-piece laminate neck, carbon fiber reinforcement Body and neck: Bolivian mahogany (Swietenia macrophylla) Top and matching headstock: book-matched, quilted big leaf maple Binding: natural (faux binding) Fretboard: Brazilian Rosewood Truss rod cover: ebony with MOP inlay logo Inlays: mother-of-pearl and abalone Frets: medium jumbo stainless steel Nut: unbleached bone Pickups: Seymour Duncan JB bridge and 59 neck Tuners: Schaller locking 3x3 Bridge and tailpiece: Tonepros Control cavity cover: Indian Rosewood with magnetic fasteners Finish: Nitrocellulose lacquer Guts: CTS 500k pots and Sprague "orange drop" .047 cap HERE is the build thread
  22. 1 point
    Ok, it's been a while since an update. I've been busy - not too busy to work on this here and there - but too busy to post and write much about what I've been up to. After gluing tops and neck blanks, I started drawing concepts for shapes on the tops. One is going to be sort of tele-inspired but not tele-ish, and the other is more straty, but more like if a strat and an SG had a baby. Here's an in-progress pic of the straty concept between bouts of drawing and erasing. I'm drawing it directly on the top because I want to make sure I have enough material for whatever I come up with. Plus, once it's all drawn out and I like it, I can use the original drawing as the cut lines for the band saw. Once I had the shapes drawn out on the tops I made tracings on paper. This is for two reasons: One, I can use these tracings to make templates for routing body pieces later on, and two, I can fold one side over to make sure that the parts are symmetrical are supposed to be symmetrical. Here are some MDF templates I made. I routed truss rod channels in the neck blanks, including access routes in the headstock. Then cut the angle on the headstock and planed it flat. Next I'll drill the hole to connect the access route with the truss rod channel and drill the tuner holes. With the tuner holes drilled prior to cutting off the back material it should mean that none of the holes will tear out.
  23. 1 point
    I may have mentioned previously that I am currently spending 2 hours a week building this guitar. This week's thrilling instalment is... erm... Drilling 2 holes There again, they are quite important holes. For now they are "hogged out" with a 10mm forstener bit until such time as I can find a 1/2" drill bit. I'm sure there's one somewhere amongst my uncle's old stuff. Probably all Whitworth though
  24. 1 point
  25. 1 point
    I have, but a little bit under duress - that is, only when the future owner specifically requested them. I did them on this single cut bass commission : While they are magnetically transparent, they restrict the height the pickups can be raised and, to avoid fingers clicking on them, add a bigger distance than would normally be used - especially on the bridge pickups. These are made from camphor (as with the top) and ebony, with a thickness of sub 1mm on the top.