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Entry for October 2018's Guitar Of The Month is open!


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Showing content with the highest reputation on 10/20/2017 in all areas

  1. 4 points
    I decided to put a rose also on the headstock, to complement the inlay on the fretboard. This drawing is smaller than the others, because the flower has to go between the machine heads. I decided to inlay on the headstock also a drawing: the logo Delky. It's just a joke from school times, a nickname from my surname Del Col. The leaves are made with abalone paua, the petals are made with white mop and australian greenlip abalone. The contrast between the different colours of the shells helped me to give more depth to the rose. The writing is made with golden mop. As you can see on the picture, I always print several copies of the same subject, because each time I cut a piece of paper I ruin adjacent pieces. In the photo you can see the effect of the two shells used for the petals: the lighter stuff is white mop, the darker is australian greenlip abalone. Here is the writing made with golden mop. And this is the final effect when everything has been inlayed. I've also completed the flamed maple binding on the headstock. I have to improve my skills to cut miters
  2. 2 points
    The neck is the part of the guitar that differs the most from the traditional Les Paul: I made a 5 parts laminated neck with a 15┬░scarf joint and a volute. To start I glued together the sandwich: ebony /maple/ebony/maple/ebony. The ebony is the same asian wood used for the top. (Sorry for the low quality of the next photos : I don't have pictures of the building process of the neck for this guitar, so I'm using some pictures of an older build made with the same woods) This is the result after planing: To cut the scarf joint I used the table saw with this jig: I clamped the neck blank to the jig which is 15┬░ angled to the blade: After planing it was time to glue the two parts together. Between the two parts of the neck I glued a thin board of maple; once carved, this board will take the look of an arrow. To glue everything together I used five clamps: two clamps to keep in position the two parts of the neck, the others to put pressure on the joint. This is the result after planing: And this is the "arrow": Now let's go back to the photos of the Les Paul! To make the heel I cut a portion of the neck and I glued on it, then I cut the tenon. With my equipment it was easier for me to make an angled tenon, while the neck pocket is flat. I think I nailed the neck and body joint And this is the joint after trimming the neck: Here is a photo of the routed headstock. Later I will glue a 2mm ebony head plate on it. And finally two shots of the guitar:
  3. 2 points
    Next steps were binding and purflings. To cut the channels with the arm router was an easy task The most difficult part was to cut the channel on the cutaway, because in that position the channel doesn't lay on a plane, but it goes up after the horn and then goes down near to the neck pocket. To achieve it I used this jig with my Makita hand router The channel wasn't perfect, because the radius was too narrow for the jig to work correctly, but after some refining with a chisel it was acceptable. My aim was to do a flamed maple binding and a four parts purfling: ebony/golden mop/ebony/maple. Instead of using Zipflex for the central purfling, I decided to do it the old way, using teflon strips and then filling the resulting channel with mother of pearl strips. This is what I wanted to achieve: First of all I prepared the binding: I cut the maple 1.5mm thick and 6mm large, then I glued a subtle strip of ebony under, so I could have a black purling line between the maple binding and the ash body Now it was time to glue the purflings, using the teflon strip instead of mother of pearl. Teflon doesn't stick with glue, so later it could be easily removed. Then I glued the binding and when the glue was dry I removed the teflon strip. In the next photo It's possible to see the void channel left by the teflon strips and the golden mother of pearl strips that I used to fill it. As I pressed the strips inside the channel, they break in smaller pieces, so they could adapt to all the curves of the guitar: I only had to cut to perfect size the portion on the horn, because there the radius was too narrow to achieve a good result with this technique. Once inserted in the channel, I glued in position the strips with thin ca glue. Now I only had to sand everything flush. The process was long and tricky but I was really happy with the result!
  4. 1 point
    Neck carve is pretty much finished. Bit of a tweak to do on the volute, but I reckon it's time to start fretting.... Here's how it's ended up:
  5. 1 point
    For this guitar I wanted to do an intricate inlay and I choose one of my favourite subjects: roses. I started making inlays three years ago and it was immediately love with this technique. Most often I do small subjects like logos or writings, so this one is my second full fretboard inlayed. On the twelfth fret I decided to inlay a small ladybug (from which the name of the guitar) to vary a little and to create a colorful subject that stood out on the rest of the inlay. The drawing of the layout is always the most demanding part: I draw by hand, first looking for subjects, then marking them out with a pencil and finally creating the composition. This is a photo of an intermediate phase: frets 1-9 The final result is really similar to those drawing for children to fill with coloured pens When I have the final layout I cut all small pieces gluing them to mop, abalone, recon stones... and I start cutting with a jeweler saw. Here is the ladybug: red recon stone, ebony and white mother of pearl. She has no legs, cause they will be cut on the "leaf" where she will lay and later filled with epoxy mixed to ebony dust. Now the work is really repetitive: cut the piece, glue to mop, cut the mop, file blurry edges and start again. Sometimes pieces are really small! When I finish to cut all the pieces for a subject I glue them together, being careful non to leave gaps between the pieces. In the end this is the final result: approximately 250 tiles. Now is time to route the fretboard and inlay everything: to do it I use a Dremel with an aluminum base. All parts are glued with epoxy mixed to ebony dust which at the same time serves as glue and filler. This required near to 100 hours to complete. Cutting frets on this fretboard was really stressful! I don't have photos for next steps, but I bound the fretboard with the same flamed maple used for the body binding, I installed the frets and finally glued the fretboard on the neck.
  6. 1 point
    I wanted a dark wood for the top, because I like the contrast between the top and the body, so I found this asian ebony, really similar to Makassar, which was very figured and enough thick to be a Les Paul top (16mm). Firstly I glued the two parts together: Then I glued together top and body using my vacuum pump. To be sure that the wood doesn't move I tightened two screws on the pickup positions. I've bought this pump to glue veneers, but I had really good results also with thicker woods and now I wouldn't go back for clamps! Here is the result after routing the sides: the glue line is almost invisible.
  7. 1 point
    After a bit more leveling, yet still matte, I had to have a few in the sunlight. This is closer to actual color...but still a bit hot from the direct sunlight. SR