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Showing content with the highest reputation since 11/06/2011 in Guitar Of The Month Winners

  1. 5 points
    Purple Haze This is my third working guitar, it’s definitely the best one so far. I would say it’s heavily based on a Jackson dinky with some inspiration from ESP. This build had a lot of firsts for me: First time Maple walnut laminate neck First time binding and my own laminate binding at that First time doing inlays First time adding a top First time staining anything Certainly a learning experience but very, very pleased with the results. Specs: Flamed maple top with limba body Flamed maple with walnut laminate neck Maple and walnut laminate bound ebony fretboard with abalone acrylic inlays 14” radius neck with jumbo frets Gotoh tuners Original Floyd Rose with some upgrades such as a brass trem claw (for looks not sound), fat brass block and turbo arm. Emg Het Set pickups And a couple of video clips put together very rushed to show the dirty and clean sounds. Please pass no remarks on the playing! Or the weird faces I make when playing ...didn’t realise I did that till now https://youtu.be/awuYWO38V1U https://youtu.be/ZHkQYJyWoW8
  2. 4 points
    "For those that might not have seen my build thread, I built this guitar in memory of my firstborn son Chris who passed away 7 months ago, Feb 18, 2017. He was 24 years old. The guitar has special inlays on the back that represent tattoo's that my son had on his chest and shoulder. A Phoenix (mythological bird) symbol, and an Aries (ram). Chris was an Aries and we both have Phoenix tattoo's on our chests for personal reasons. Also smaller versions of each on fretboard and headstock to match This guitar is named "Phoenix" The model is one of my own designs, called "24 Magnum". Its my 12th build to date, I build in my garage/shop at my home. This model, as with most of my builds, has the following notable features: Neck-through-body construction 3-piece laminate neck (all mahogany) carbon fiber neck reinforcement Specs: 25.5″ scale length 24 stainless steel frets 12″ fretboard radius Genuine South American mahogany ( Swietenia macrophylla ) body and neck Bookmatched, flamed maple top Ebony headstock overlay Natural “faux” binding Macassar Ebony Fretboard Original Floyd Rose Tremolo w/ tungsten sustain block Custom white mother-of-pearl phoenix 12th fret and Aries headstock inlays Custom white mother-of-pearl in ebony Aries symbol inlay on back Custom paua abalone and select blue paua Phoenix inlay on back Planet Waves 3×3 locking tuning machines Seymour Duncan pickups – Custom Custom (TB-11) bridge, and Sentient neck 5-way Oak Grigsby super switch (n, n-split, n/br, br-split, br) CTS pots, orange drop caps Nitrocellulose Lacquer The photo of my son Chris is included to show the tattoo's on his chest and shoulder that are the inspiration for the inlays....
  3. 3 points
    Ziricote Stoptail Specs Top wood: Carved Ziricote 18mm Body: 1-piece black limba 29mm Control cover: black limba Neck: 1-piece blank limba, 20mm D from nut to 17th fret Headstock: Ziricote with white mop inlay Fretboard: Ziricote, MOP 2-headed snake thing inlay plus 2mm white mop dots and mop side dots and Ziricote binding Scale length: 25" Frets: 24 medium jumbo nickel silver Finish: - Body: natural satin poly clear coat - Neck: Danish oil Bridge: PRS adjustable stoptail Tuners: Sperzel trim lock 3x3 chrome/gold Nut: Graphtec, 43mm Pickups: PRS 57/08 neck, HFS bridge Pickup selection: 3-way toggle + individual coil splits Controls: 1 vol w/treble bleed, 1 tone and switchcraft toggle, ebony lampshades, ivory style pickup rings and switch-tip Weight: 8 lb 4oz Build thread: http://www.projectguitar.com/forums/topic/49493-hi-starting-building-6/ Demo video:
  4. 2 points
    The Sweet Spot - Blue MATERIALS: Neck is flamed maple sourced locally from Superior Hardwoods The body back is 1 piece khaya mahog sourced locally from Peterman Lumber The top is 1/4" quilted maple I got from Downhomewoods The fretboard and headstock overlay are gabon ebony from Allenguitar Mother Of Pearl inlays were pendants I bought on Etsy SPECS: 25" scale length | 12" radius | set neck | 17 degree headstock | heel adjust via fretboard | 30" radius top | Tru Oil finish PARTS... PICKUPS: a mix from 3 different handwound sets from Bootstrap Pickups. CONTROLS: 1 volume, 1 rotary 6 way, and a push-pull active-mid-boost. Bourns pots, oak Grigsby switch, Stew Mac 6 way, Switchcraft jack FUNCTIONALITY: 6 way mode switch serves up all sorts of parallel/series and inside/outside combos... approximating Tele, Strat, Les Paul and PRS like sounds. TRUSS ROD: Allied Lutherie spoke wheel double-action TREMOLO: Gotoh/Wilkinson VS100 2 point TUNERS: Sperzel trim lock FRETWIRE: Evo gold medium jumbo NUT: Graph Tech TusqXL AMATEUR/PROFESSIONAL... I build for the love of it. Building is my "shelter from the storm", my therapy (about the SM price and a better value IMHO)! This is scratch build #3 for me, so in short... I'm all amateur! BACKGROUND... I have some woodworking experience as a young man, have built 10 or more partscasters. BUILD LOCALE... This was built mostly in my garage... assembled in my home office, and finished mostly in my kitchen (thank you honey and sorry about the table)! BUILD GOALS... This was built for me... I wanted to pick features that would challenge me (nailed it!). The radius top, the binding that would move in two dimensions, the truss access via the fretboard - these were all things I had never done before and wasn't sure I could do. There were times I wanted to ask questions, but forced myself to think on it and see if I could solve it. There were times I gave up and asked for help (BINDING among others!). Fortunately, when I've stumbled, many of the members here have lifted me up, encouraged me, and even cheered me on! Thank you all! INSPIRATION... I've wanted to do a 4 pickup strat for a long time. The idea festered in my mind for a while and finally worked it's way out! My favorite positions on a Strat are 2 and 4... aka the "sweet spots", but I also like a high output bridge pickup and hum cancelling for when I do heavier noodling. I've tried higher output bridge singles in a Strat but that seems to compromise the mixing of the coils (the higher output coil always dominating). I've put in a Strat sized humbucker, but they don't sound as good split. I've used a full sized humbucker with two singles, but it feels like you compromise that Strat 2 position a bit. All perfectly great solutions by the way. I chose to compromise a little more on the humbucker sound (after all, there is the physical separation and the magnetic poles instead of bar mags). I felt like there might be less compromise in terms of the Strat 2/4 sounds with a four single coil setup. SEE MY BUILD THREAD BY CLICKING HERE VIDEO DEMONSTRATION (click play below - would love your feedback!):
  5. 2 points
    Name: "The Pic-a-low" Materials: 1 piece black walnut body 1/2" 5A maple burl top and 1/8" headstock overlay black walnut neck gaboon ebony fretboard with maple burl markers Config: 32" scale length with "fat c" profile Hardware: very modest... wilkinson tuners, song il (korean) bridge, no-name pickups w replaced alnico II magnets (didn't have a lot of faith in myself to make this worthy of more expensive gear as this was my first build but will likely replace some things given how moderately well it turned out) Electronics: again very modest... 3 way rotary switch + 3 way toggle wiring for parallel inside vs parallel outside, series inside vs series outside, series vs parallel, master volume, hand built 2 band active preamp with push/pull on/off and bright switch. EDIT - forgot to mention... kinda cool... if you look at the right side f hole... my preamp trimmer is accessible through the f hole. Kinda gimmicky but cute none-the-less! Experience/Background: did some woodworking (lot of sanding!) and solid surface fab as a young man, have built a few things like a desk and a futon... have assembled quite a few guitars from parts, always wanted to build one from scratch and got the (false) confidence from seeing so many skilled builders here making it look sooo easy (it wasn't). Where: built in my garage w jigsaw + drill press + router + palm sander History: I pawned off my first bass guitar - a yamaha motion b - for $75 in 1995 while broke in L.A. Always regretted that. It was a 32" scale bass and as primarily a guitar player, it was perfect for me. 32" scale is very rare to find and generally quite expensive so... in the diy spirit I set out to replace that bass on my own. Picking it up the first time, this neck felt like coming home! Design: used fret-2-find to layout the fretboard, took some p style bass diagrams from the net and scaled it down a few percent, then smoothed it out in photoshop -pretty standard but a bit smaller. Wanted the body to be as light as possible but also wanted to avoid neck dive given the plan of heavier/cheaper tuners so I did some forstner weight relief but kept the f-hole cavities about 3/16 wider than the f-holes themselves. Journey: my build thread here Standing on the shoulders of giants: special thanks to prostheta, curtasia, scottr, norris, andyjr1515, mr natural - if it hadn't been for your advice and encouragement, I'm sure this could have looked like some sort of picaso/dali impression of a bass!
  6. 2 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: (editor's note: this is MORE than worth 30mins of your life!) Best, Chris
  7. 2 points
    "Hi, I´m Sebastian, 31 years old, living in Germany near Cologne. I have started building electric basses 2 years ago. This one shown here is my first electric guitar. As most of us, I'm already completely obsessed with the topic. Currently I'm building in a small 4sqm cellar room at home. My past and actual build projects are shown on my Facebook page. Do not hesitate to have a look and to tell me what you think: https://www.facebook.com/KaemmerGuitars/ 'Model 222' is a special guitar dedicated to a special person. On February 22nd my first son was born and my grandfather died. With that in mind I've designed and built this guitar with great passion and dedication. The idea of the design was to combine the following aspects: classical, but not a thoughtless carry over of old habits elegant appearance, but not overloaded ergonomic playability and lightweight, without a "freaked out" ergonomic shape expressive and flexible tone range Building time: 02/17 to 08/17 ProjectGuitar.com forum thread of the building process 'Model 222' specifications in short: Scale length: 25.5" Body: Mahogony, chambered Neck: Mahogony, 3 pieces, scarf joint headstock Fretboard: Mahogony, 12" radius, hardened, pore filled and lacquered Top: "flamed" pear wood Pickups: handwound Tuner: Schaller M6 Bridge: Hipshot hardtail, string through Nut: Bone, compensated Pickguard: Aluminium Finish: 2K PUR high gloss Total weight: 2.9kg / 6.4lbs ---- Flamed pear wood top Mahogony fretboard Custom '222' inlay at the 12th fret, aluminium fret dots Aluminium pickguard ---- Drop top at the armrest: Thickest part of the body is 37mm ---- Custom control knobs recessed in the aluminium pickguard Volume pot with push-pull for SC split Tone pot with push-pull as cap switch (gives a warmer, mellower mid range tone) ---- Contour shaped backside for a pleasant feeling Matched electronics cavity cover ---- Three piece mahogony neck, the middle strip is turned over for a improved neck robustness towards weather changes Asymmetric medium v-shaped neck profile Scarf jointed headstock with volute and veneer on the backside ---- Compensated bone nut Matched headstock veneer Aluminium trussrod cover Photographs made by Martin Christ ---- I've filmed myself assemblying the guitar and made a short time lapse video of it - enjoy: Let me know if you like the guitar. Best regards! Sebastian
  8. 1 point
    Scroll and Burl Body-- Black Limba Top and HS cap--Maple Burl Neck and cavity cover--East Indian Rosewood Fretboard--Cocobolo Tuners-- Gotoh locking Frets-- Jumbo SS Bridge --Babicz Switch-- 5 way blade Pickups--Klein high wind P-90s at the neck and bridge and a Klein high wind single coil middle wound and wired for a strat. Build thread:
  9. 1 point
    Well I figured I'd enter the newly finished V seeing as the 3.2 was obliterated by @mistermikev in the last round, and fairly so. I couldn't of finished the wiring for this one or the last one without his help, so couldn't have lost to a better bloke. This one is called The Goblin, built for my buddy Ollie (aka The Goblin) and is now in his possession - I'll get him to film a demo video next time we're in the studio. The brief was a "flying V that's like my custom 24..." So it has PRS scale, neck carve as close to the Pattern Thin carve as I could get and with the same pickup switching, control layout as close as can be given the shape. Build thread: http://www.projectguitar.com/forums/topic/49564-build-7-ollies-neckthrough-flying-v/ Spec Top wood: Flamed maple and faux binding body/neck-through: American black walnut and maple veneer tapered laminates Control cover: flamed maple headstock: Flamed maple with faux binding and Indian ebony inlay, Indian ebony truss rod cover fretboard: Indian ebony with flamed maple binding, MOP skull inlay and 4mm mop dots. Black side dots over binding scale: 25" Frets: 24 medium jumbo nickel silver Finish: - Body: blue burst water based stain with satin poly clear coat - Neck: Danish oil Bridge: Schaller roller bridge, hardtail Tuners: Sperzel trim lock 3x3 Nut: Graphtec, 43mm Pickups: PRS 57/08 neck, HFS bridge pickup selection: 1. Bridge hum 2. bridge hum + neck single 3. bridge hum + neck hum 4. bridge single coil and neck single coil 5. neck hum Controls: 1 vol w/treble bleed, 1 tone and fender 5-way super switch, ebony switch tip and lampshades Weight: 7lb 10oz
  10. 1 point
    ZekeB, "Mako I" "Here we go. Big thanks to the ProjectGuitar.com family for helping me through it. This is the Mako I Wood - Honduras mahogany body, figured maple top, macassar ebony fretboard Scale Length - 25.5" Compound Radius - 12"-15.6" Pickups - Tom Anderson pickups H2, SF, SFR (neck) 10 position Freeway Blade switch Master Volume & Tone Pots Push/Pull volume pot to act as a kill switch (standby switch) Schaller Non-Tremelo Bridge This is my 1st build. I've done other wood work but nothing to this scale. Spent about a year reading, researching, and designing before going after it. I built it in my garage starting with a few tools. As it progressed I accumulated more and tried different things before moving forward. Some worked, some really didn't, haha. I had an idea of what it was going to be and I didn't think I would break from that plan but I was pleasantly surprised it changed it so much. As I built it kind of took on its own character and I just went with it. It definitely took longer to change things but on the artistic side its a lot more pleasing to let the design take its own course. The other element was how it played. I'm much more a musician than a luthier and I'm really happy how well that turned out. Sounds nice and smooth with plenty of ringing sustain, some great flexibility, and low consistent action. The original idea was to take all the elements I love from other guitars and make something unique with all those variables. I feel I was pretty successful in that regard. I really enjoyed the whole process and this definitely won't be my last build. Thanks! ---- Komodo - "'66 Korina Super Sport" Of course the date is fictional, except it was the year -I- was manufactured and the touchstone for this guitars aesthetic. My goal was a vintage looking and very modern playing muscle car of a guitar. As a player it is easily my favorite, with the wood combo it has sustain for days, and action is fast. Bridge tones are thick and edgy, cleans sound super chimey on either pickup but the center position is amazing. 25” scale Korina / white limba body Pau Ferro neck with Macassar ebony fretboard and MOP dots Gotoh tremolo and tuners Seymour Duncan SH-11 bridge pickup, A2 14k, added nickel cover Seymour Duncan Black Winter neck pickup, ceramic 16k parallel, added custom nickel cover Volume and tone, both pickups have split switch, the bridge also pulls some low-end from the second coil and retains most humbucking. Switches are Honeywell 6AT2 SPDT used in military aircraft. $90 minis! (these were $5 used on ebay). Toggle has custom smoke / fire plate. CTS pots are sporting oxblood “Klon” knobs on them. The finish is nitro, the body was put in a deep freezer for a few days then pulled into a warm room to produce crazing and checking. The hardware was all new and shiny, it was dinged and rubbed with steel wool and sandpaper, and fumed with muriatic acid to produce a heavy relic finish. Neither the clear nitro or hardware was intended to look like a naturally aged instrument but more of a fictitious barn find. I do not have to worry about scratching this one as it only gets better! ---- Gallery Mako I '66 Korina Super Sport
  11. 1 point
    The Root Beer Float "OK, its a stupid name, but I don't 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
  12. 1 point
    Hi I thought I'd enter my recent dreadnought acoustic build, 'Leftovers' Why is it called 'Leftovers'? Because it was made largely from bits of wood and hardware, some unused sets, some offcuts, some abandoned bits, that have been hanging around just taking up space over the past few years. The only major specific purchases were the top wood and the Shadow pickup/eq set. I have built it for my own use to give me a guitar configuration that sounds good fingerpicking (which my first acoustic build, an OM shape, does) but also sounds full and even when strummed (which my OM doesn't really!) I've been modding guitars - mainly electric 6 strings and basses - for around 8 years, and did my first full build 6 years ago. I am essentially a hobby builder but have been asked from time to time to do commissioned builds, which is a very fulfilling thing to do, especially when you see the big grin on the new owner's face when you hand it across The build diary for 'Leftovers' is here: The spec is: 25.5" Dreadnought Acoustic London Plane Tree back and sides bought 'just in case' on a previous build European spruce top Maple/walnut/maple neck - offcut from a previous build Macassar Ebony fretboard - offcut from a previous build Tasmanian Burl Eucalyptus rosette - donated by out very own forumite @curtisa EVO Gold Frets Mix 'n match locking tuners - leftovers from a previous build Ronseal polyurethane varnish, brushed on Shadow Doubleplay on-board piezo/magnetic pickup and eq system Elixir nanoweb 10-47 strings Here are some pictures: There are some rough old unplugged sound clips here - rough because of my playing - recorded on a zoom hand-recorder: Thanks for looking
  13. 1 point
    "Here is Greg's Guitar. He wanted a build in all domestic (to the U.S.) woods, so this is what we came up with: Curly maple top with an IPA burst. Ash body with black grainfill and smoky gray tint. American black walnut and Osage orange neck. Osage Orange fretboard and headstock cap. Sperzel locking tuners. Graphtec nut. 10" fretboard radius. Jumbo SS frets. Klein '58 PAF humbucker set. Schaller (Fender style) tremolo bridge, decked. Build thread: SR
  14. 1 point
    "Stripy" Top...Zebrawood Body...Sapele Neck...Zebrawood with a Katalox center Frets...22 jumbo SS Bridge... Babicz Tuners...Gotoh 501 Deltas 21:1 Pickups...Klein '59 PAF http://www.projectguitar.com/forums/topic/49152-stripy-double-cut-with-an-f-hole/
  15. 1 point
    name: (H)851-6T scale length: 26"- 25.5" number of strings: 6 fingerboard wood: ebony number of frets: 22 with MOP dot neck wood: 5 piece laminated padauk/quilted maple/rosewood/quilted maple/padauk body wood: laminated maple /padauk/zebrano/padauk top wood: zebrano / padauk with black epoxy resin binding neck pu: Seymour Duncan '59 bridge pu: Seymour Duncan JB nut: BLACK Technology for Musicians (H)Nuts bridge: BLACK Technology for Musicians (H)T Tremolo (new version with micro ball bearings) ProjectGuitar.com forum build thread
  16. 1 point
    ProjectGuitar.com Chris - again, warm congratulations on both your second Guitar Of The Month win and now Guitar Of The Year for 2017....great work! Would you like to introduce yourself a little? skyjerk Thank you Well, I'm 53 years old. I live in Chester County PA in the USA. I work in IT for my "day job" as a UNIX engineer. Happily married for 20 years to a wonderful woman that has always been very supportive of my extracurricular passions like skydiving and more recently building guitars. We have 3 hairless dogs (Chinese crested) not for showing or breeding, but just because we love them. I've been playing guitar since I was 12 years old, always been musically inclined. Ive been in many bands, and I've built a recording studio in my house. I came into the guitar building world because I commissioned a guitar build from a local builder about 7 years ago. It took him 4 years to deliver the guitar, and I wasnt very happy with the result. To make amends for the long wait he gave me a partially completed build as a bonus, and I started looking into what I would need to do to finish it and eventually decided to try a build from scratch about 3 years ago. I never did finish that partial build the other guy gave me. Its still sitting in my basement. I think I would never have been happy claiming it as mine since someone else did most of the work. On-line communities like this one (ProjectGuitar.com) have been a wealth of both information, advice, support, (and even friendship) in my quest for knowledge. I really love building guitars and the people on this forum and others are exceedingly generous in sharing their knowledge rather than hoarding it and calling it proprietary or trade secret. ProjectGuitar.com It sounds that at least you can thank the other guy for helping you getting bitten by the builder's bug! The (very detailed) forum build thread you developed shows a very uncompromising approach to material choices and solid working methods which clearly shows in the quality of the end result. It's pretty apparent that your backstory and reasonings behind this build were fundamental in distilling focus and providing drive to create something deeply personal and unique. How many builds have you got under your belt to this point? It goes without saying that this isn't your first! skyjerk Well, this is my first build of this model. A prototype if you will, which I'm calling the "24 Magnum". In the order of all guitars built it's actually the twelfth guitar I've built from scratch. My very first was a slightly modified Les Paul design. Visually it resembled a 59 Les Paul in shape and dimensions, but was neck-through-body, I reduced the neck angle, and had some other design alterations that suited my taste and style, so it wasn't a counterfeit or copy. I made no effort to be "vintage correct" and of course I inlayed "Addict" on the headstock rather than the G name. That build turned out so well that I retired my real LP and the one I built became my main player in my band. My very next build was of my own design as were the ones I've built since. It wasn't my goal to build replicas or copies, but to realize my own tastes and desires. I did have some experience working with wood before I started building guitars, and my first career was in construction. I used to build houses. I already had a lot of tools and was good at using them. Of course building guitars requires a lot more precision and care, and I had to learn a lot of specialized knowledge about how guitars actually work and what makes one guitar better than another, etc, but I didn't come in 100% cold. Of course you can't help but work in the things you love about the classics, so this 24 Magnum model has features that I've loved in other guitars, like the PRS custom 24, Fender Stratocaster, etc. although overlaying my design with any other guitar model shows that it's absolutely not a copy of any of them, nor do my specs align with any of them. The back story is fairly straightforward. My 24 year old son Chris passed away just shy of a year ago from an overdose of fentanyl. I built this guitar in his memory. The inlays on the back of the body, a Phoenix (mythological bird) and an Aries symbol (zodiac) were taken directly from tattoo's that Chris had on his chest and shoulder, and the inlays on the fretboard and headstock are simplified versions of those same symbols. I was with Chris when he got those tattoos (I actually paid for them) and it's a very fond memory. Additionally, the model was originally envisioned as a 22 fret design. I built a prototype of that 22 fret model (there is a build thread for it right here on projectguitar.com), I never actually finished that 22 fret version because Chris died and it was a little while before I felt like working in my shop as you can imagine. When I did start working again, I set aside the 22 fret build and started from scratch with this 24 fret version in his honor. 24 frets because he was 24 years old. ProjectGuitar.com Phoenix must be a very profound part of reconciling yourself with that loss, whilst also keeping your memories of Chris close to heart. It's difficult to think of a more fitting tribute, and the fact that the guitar itself is plain stunning in every aspect underlines that. Coming into instrument-making with a neck-through Les Paul is no small task. Even somebody that has existing knowledge and skills would find that sort of build a very high target to meet. Over your twelve builds, what have been the major hurdles, discoveries and skills gained? I presume that there's always been plenty of new things to take onboard with each new project. skyjerk Well, all the house building in the world doesn't provide any knowledge into how to make a perfect joint. It's just not a requirement to make two pieces of wood perfectly flat so that when you put them together you have 100% contact and no visible seam Clean, tight joints are everything when building a musical instrument. Not just for aesthetics, but for good transmission of vibrations. Air spaces and thick glue seams dampen vibrations and make the instrument less resonant, and they look terrible too. Learning how to use hand planes to make perfectly flat, glass smooth surfaces for joining was absolutely my biggest hurdle. Just joining the bookmatched top for that first Les Paul took me about 6 hours and made me feel like an imbecile! Everything about that first build took me 50 times longer than it does today....I'm something of a perfectionist, and I wasn't willing to accept a less than perfect result even though it was my first attempt. Fretwork was another biggie. Nothing in construction prepares you to level, crown, and polish frets either! When I finished that build I was very happy with the outcome, but even now every guitar I build leaves me feeling like "This was good, but I could do it better". This is what keeps me learning and improving. ProjectGuitar.com After having made yourself a profoundly personal instrument, you have to wonder....what could be next? You're definitely not the type to call it a day on anything! skyjerk Well, looking forward to the future, my next build, (which I've already begun collecting materials for), is a re-re-imagining of the original 22 Magnum (if that makes sense). It will be a shorter scale (25"), fixed bridge (TOM), and re-implementing the bird inlays I used on the first 22 fret model. It will have the same type of top carve I did for the 24 magnum, but rather than a flame figure I have a totally gorgeous piece of quilted maple for the top on this one as opposed to a flame, and I'll be finishing it with a tiger-eye burst and matching headstock overlay. I have a terrible weakness for transparent finishes and figured maple. I have yet to do an opaque finish, and don't see any coming in the immediate future. I'm planning to do a build thread here on ProjectGuitar.com once I start, and if it turns out half as nice as I hope I'm sure I'll be entering it as another GOTM contender once it's all finished! ProjectGuitar.com Looking forward to it Chris. I'm sure people will continue to take a lot of inspiration from all of your builds, past and present. Thanks for sharing your work, and again, congratulations on taking 2018's Guitar Of The Year! ----==---- click for larger click for larger click for larger click for larger click for larger click for larger click for larger click for larger
  17. 1 point
    @V16 Guitars, ES-O "Berkeley" "This is my entry for the October 2015 Guitar of the Month Contest - I have a little 1-man shop in a 10X15 Tuffshed in my back yard. I call my guitar line "V16 Guitars" after my favorite Cadillacs of the 1930's. I was the Luthier and shop manager for Chandler Guitars in the early '90's, and have recently started to build again, this time on my own. I have probably built at least 100 guitars in my 32 years of luthiery. This model I call the ES-O "Berkeley". It is a semi-hollow with a flat sawn Eastern Maple/quarter-sawn Douglas Fir sandwich core overlaid with a 7-ply top and back. The hand inlaid fingerboard is Brazilian Rosewood slotted to a 25" scale. The binding, pickup rings, pickguard, and trussrod cover are also made from 1-piece of Brazilian Rosewood. The 5-ply neck is made from quarter-sawn Rock Maple, Purple Heart, and Genuine Mahogany.The humbuckers are V16 "777" models that I scatter wind myself to approximately 7.77K ohm, and load with 49.2mm butyrate bobbins, and AlNiCo V magnets. You can view the entire build process at https://www.facebook.com/media/set/?set=a.1135001589850754.1073741866.730681670282750&type=3
  18. 1 point
    @ginner, "Titan Emerald" "Hey! This is my newest creation. 25.5" scaleHonduran mahogany body and neckPaduak laminate in neckQuilted maple top/headstock veneerBare Knuckle PainkillersEvertune bridgeCoil tapping on the tone knobMatching backplateEntirely oiledHipshot open gear locking tunersHeavy voluteSomething special about this one - to match the Bare Knuckle battle worn pickups, the top has been gouged and worn down in some spots deep. This is where you see the "lighter" green staining. Between the contouring of the top and the pickup covers, it has a really war torn feel. Hope you like it. Thanks Guys!
  19. 1 point
    @ScottR - "B.B.Red" ".....so named for its relationship to two colors inherent in this guitar--the blues and red--and because those are my mom's initials as well" Body - Spanish Cedar with a maple top Neck - Jatoba with an ebony fingerboard and headplate Scale - 25" Radius - 14" Trussrod - Allied Luthiery Tuners - Gotoh 510 Deltas - 21:1 Nut - Bone Frets - Jumbo stainless steel Pickups- Custom PAFs from Guitar Logistics (RAD) A4s Bridge - ABM Electronics - 3-way, vol, tone
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