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  1. 10 points
    Well that went well. Feedback was it sounded clear, deep and punchy. Played well with lovely neck, so can't ask for more. Heres a snap of Marshall I Henry playing it on the pyramid stage! Very humbled to have one of my instruments used here not just in my little studio.
  2. 7 points
    Clamps off. I'll take that. It's looking a bit like a guitar now.
  3. 7 points
    Today's job was cutting the saddle slot. I used the Dremel with the precision router base and a 3mm bit: Rigged up a guide jig with thin packers that would ensure that it stayed level and flat when clamped down: Then clamped it, checked it all and slotted it: Drilled a hole from the slot to the cables channel build into the neck and put in the piezo element for a trial fit: Shaped the bone nut blank and strung it up. And blow me! The flipping thing actually intonates properly!!!!
  4. 7 points
    Aaaand back to the body Pickups and neck pocket routed: 1/4" radius for the back: Binding channel (forgot to take pics during the actual binding process): Once binding is done, break out the medieval rasp and companion scrapers: Ok, this one is fully caught up now, minus a few photographically uninteresting stages of sanding. The fretboard was sent off to be blind slotted via CNC, I should have it in hand by the middle of this coming week. Thanks for taking a look!
  5. 6 points
    Looking at the weather forecast looks like I can start spraying clear tomorrow. Meanwhile: I got some Z-poxy recently from LMI to try as a pore filler, since the swirl is going onto the neck on the back and everything will be finished with full gloss clearcoat I figured I need to pore-fill the neck and headstock. Testing Z-poxy - rubbed in one coat, sanded back with P400 the following day, then another coat and sandback. Here's coat nr 2 right after application: Also, pickguard. A weird strat needs a weird pickguard: I'll probably use this as a testpiece before I make the proper one out of plexi - there are a few small cosmetic problems with this one.. but I want to have the guitar ready to play it in a show we're doing on July 15th so I'll most likely use this one then. Afterwards I'll see. Here's the hardware in place - I got 7-string singles wound for me by Zbigniew Wróblewski of Merlin Pickups (merlinpickups.com, a boutique Polish pickup company, Polish bands like Riverside and Vader use these for example). The plan is to connect them in series with an in/out-of-phase option, following Brian May's Red Special wiring, here instead of using 6 switches I can get the same set of combinations with 3x on-on-on DPDT switches. I also looked at the Red Special layout and tried to roughly position the pickups in similar spots along the strings to have similar phase cancelation+enhancement effects, for the treble strings I'm pretty close, then I diverge a bit (I didn't want to slant too much). Finally - a mockup:
  6. 5 points
    Dear super-cool-bass-back's finish... I CHALLENGE TO YOU BATTLE. My weapon of choice? Nature's idea of a super cool finish: ridiculously figured ash! Specs Flamed maple neck with african blackwood rosewood fretboard in 25.5" scale with 'split block outline' inlays in aluminum Evo fretwire 1 11/16" nut First ever Model1 with a bolt-on neck. First ever prototype of my 'Massive Access' bolt-on joint Thinline style hollowed flamed southern ash body complete with east Indian rosewood top with F-hole Gotoh modern tele bridge, hipshot open-back locking tuners, all in gold. Standard telecaster wiring (but with 500k pots and a 470k cap on the bridge pup to make the pots act more like 250ks when in position 1 and 2) with McNelly A5 signature plus in the bridge and "Wild Range" humbucker in the neck. She's already off to her new home... but that home is close so I hope to still be able to get some demo vids done with it. Best, Chris
  7. 5 points
    These three or four simple photos below hide a good few hours of toil First of all, earthing the tuner block. I don't know what other people do, but generally I solder my earth wire onto a small patch of copper shielding to get certain and decent connection without the risk of a lump under the bridge! : Then it was the turn of the battery clip and pots. Here's a shot with two of the pots installed and the slimline stacked pot still to do. These first two were the ones with very small threaded areas - the suggestion from one of the other forums to tap an internal thread in a couple of spare machine head bushes worked a treat: And here we are with all three pots installed. Still have to finish the relief carves for the knobs and install the jack socket but you can see here that, from the back, everything is easily accessible. The pot knobs are very easy to use in this position - even the stacked knob: ...but from the front, everything remains hidden:
  8. 5 points
    Just need to finish his eyes and lay on some oil. SR
  9. 5 points
    So I have been carving the top these days... not finished yet, there are still some bumps here and there, but the hard part is mostly done. The carving has nothing special, it's just curvy... I like the dark natural "binding" the shape makes. The neck is still "stabilizing" after carving the back, so in the meanwhile I will take care of all bumps and try to make the pickup rings.
  10. 4 points
    A few months back, my buddy Hook--@skullsessions--suggested to me that he and a couple of his bandmates might be interested in electric mandolins. I was working on Cody at the time, and while I was carving I mentally designed one. I figured I ought to build one first, to sort of get the taste of it before committing to anything. They had tiny teles in mind, but what I wanted to start with is more of a nod to the F-style. So I re-sawed a zebra wood plank I had leftover, badly, and glued it up. Then I sharpened up my trusty low angle plane and got to work making shavings. Cody had to come out and see what I was doing. Then I rough cut the body to shape and started prepping the gluing surface. I wonder if they make mando sized P-90s? SR
  11. 4 points
    And the 'as near as makes no difference finished' shots. Forgive the self-indulgence:
  12. 4 points
    Went back after all this and painted flat black inside the humbucker cavities & bridge recess. Will have better pics later on but this is where we're at: I have a couple more things to do before I'm going to feel like it's "done" ... have to tame the wires a little bit inside so they are not as loose/visible from outside. Not totally visible in this picture but they are. That and, there is a couple of horrendously improperly seated frets... makes for some false and buzzy notes. I'm otherwise mostly happy with how it's playing at the moment but I would really like to fix this if I could. Is there any way of approaching this without going too crazy?
  13. 4 points
    It feels like a while since I've fiddled with this. Slow nervous progress with this - definitely out of the comfort zone thing. Anyho the neck heels been roughed out and sides glued in. This is the wedged side. Bit of sanding to do here. I like this method as it negates both neck fitting and having to cut a tightly fitting slot for the side. For a first attempt its left quite a nice fit. As a whole though, I still think I prefer building the neck and body separately as I think body construction is much easier this way. This doesn't really show it well, but I've tried a 20mm manzer style wedge (treble side large bout +10mm, bass -10)- just to make things that bit more fiddly. Looks comfy though. This is where we end the day. The support for the cutaway bevel is in - not pleased with the fit but hey, its an experiment so I'll take any win. The angled cutaway at the heel looks ok, but I'm not sure how much it adds to the whole general mish mash. It was head work to bend to the right slant and clamp. Not on the repeat list....
  14. 4 points
    I'm really pleased with the Osmo Polyx and really, really pleased I came across the 3044 variant The finish is now complete bar-the-shouting and it is remarkable just how close this is to the raw, sanded, wiped, dry timber: ...and yet the surface is super-slinky: Got a touch of tidying up to do and then it's the pickup / electronics installation, the final hardware installation and the final set-up. These things always take a lot longer than expected, but the end is most definitely in sight. To the point that I've just bought the wood for the next two builds...
  15. 4 points
    No way!!!! i just saw I won guitar of the month! That's so amazingly exciting. Thank you so much to anybody who voted. I'm seriously touched.
  16. 4 points
    So this brings me up to where I am right now. To color the top I did the stain it black and sand back to enhance the figure, and then dyed it directly with water based aniline dye. Sorry, I didn't get a shot of the top after sanding off the black.... Next I shot a couple seal coats of thinned nitro, then the burst, then a couple coats of clear. Ive shot a seal coat of clear on the back and neck as well. I dont want to do anything else until I've done the large inlays on the back, and the truss rod cover as well. The back and neck will be natural/clear. No tint other than the slight darkening caused by the lacquer and grain fill. After all that is done it'll be about 4 more coats of clear, and then let it sit a few weeks. So heres where we stand as of today (July 7) Keep in mind theres orange peel here, and also they are low light shots taken with my phone. This will look a LOT nicer when the clear coats are on, its sanded and buffed, and the hardware is on
  17. 4 points
    yes, this was the plan from the beginning - since I had no logical separation line (like on a bolt-on) actuall now I remembered that I also wanted to do this on the fingerboard and clearcoat over the frets like on a maple board .. oops. Well I guess that idea got lost somewhere along the way, at least that wasnt an important design element and fretwork will be much easier now. Maybe I even at some point conciously decided to not do that, I don't remember. But yes - at the back I wanted to just blend it in. The neck went into the water as far as it could (given the depth of my "tub") and later I did a smooth transition using turpentine. Here's a fuller shot, after coat 2: actuall coats 2 & 3, I ran out of paint in the stupid 160ml rattle can while doing coat 2 on the front of the guitar (looks like I went too heavy on the back) so I quickly drove to the local hardware store to get another one and got another one. So I ended up using 60 CHF =~60 USD in rattle-can clear, I thought two cans would cut it, but I didnt want to wreck the guitar later because of me being cheap. (like sand through due to having not enough clear etc). I'm happy to report no compatibility issues appearing, in fact I did a test on a piece of maple veneer that I dipped in the magic marple paints when testing different color combinations. That one didn't have the shellac barrier coat like the guitar has and I was spraying it in parallel - also no issues seen there. So looks like auto 2K might be compatible with magic marble.
  18. 4 points
    It seems the stuff we put on him for fleas, ticks, and heartworms is useless against termites...and boring beetles or carpenter ants. Perhaps it shows a bit, but I'm pretty damn happy about the way his eyes came out. I believe my British friends would say I was quite chuffed with the results. SR
  19. 4 points
    Cool news. The president of the company that exclusively distributes for Floyd Rose, Schaller, Babicz, Pro Rock Gear and KTS Titanium saw the new knobs in Dichrolam (made with my stuff by a their accessories / knob maker, not sure if I can disclose his name), and was blown away - planning to pitch them to PRS (they already use Dichrolam in their bird inlays thanks to Tom Schotland's / Duke of Pearl luthier inlay version of Dichrolam - using my optical dichroic core within special inlay grade polymer sheets), and a ton other big guys at summer NAMM. Also pitching my pick guards and sheets of Dichrolam like the one in my avatar. Seems like making these guitars was a good idea.
  20. 4 points
    So, based on last week's input we put together a plan of action to get the neck finished off, complete with the fretted and bound wenge fretboard. Over the weekend, we successfully dealt with the first two steps of our plan. We started by rough-cutting the shoulders of the neck tenon at the bandsaw. The neck meets the guitar body at a roughly 14.4 degree angle, so I trimmed the shoulders to that angle with a chisel, and, of course, had a chip-out issue. Fortunately, the chip was pretty big, and all in one piece, so it was pretty easy to glue back in with minimal hassle. Then I smoothed down the sides with the low-angle plane. With the shoulders done, we had to remove the ‘bottom shoulder’ as well, which we started at the table saw because it gives a smoother cut. We finished the rough cut at the band saw, then into the vice for finishing with chisel and plane. The tenon ended up clean, straight and smooth, so we were very happy. That should make our lives much easier when we get around to cutting the neck pocket in the body. With the tenon cut, we turned our attention to the truss rod channel. I have to admit that we made this harder on ourselves than it really had to be. If we had done this before rough cutting the side profile in the neck, we could have just put the edge guide on the router and had an easy go of it. However, we had already rough cut the side profile, so our sides were not parallel to the centerline of the neck. We started by clamping a fence to the workbench, then trying to clamp the neck down with the centerline parallel to the fence. At some point, we realized we were doing it backward, and we just clamped the neck into the end vice. Then we clamped the fence to the workbench so that it was parallel to the centerline. From there, we could run the router down the neck with the base firmly against the fence. We did several passes with a round bit (the truss rod is rounded on the bottom) to get to the proper depth. Then we expanded the top end of the channel to accept the larger head of the truss rod. A little cleanup and we had a great result. I have one open question at this point. The rod is flush to the surface of the neck all the way down, except for a slight gap above the chrome adjustment 'head' at the end of the channel. Should we cut a small filler piece of mahogany to fill the channel above that head? We’re excited to be getting to the fretboard next - it's starting to feel like real progress. As a bonus for reading to the end, here are some pics of the fully manual dust extraction system/shop assistant. Looks like he might need some training on the equipment.
  21. 4 points
    Loads still to do, but another job off the list. Added smaller Luminlay dots in the fret overrun for the frets past where the body meets the neck: There is...sometimes....OK not very often...method in my madness... (and there's certainly madness in my methods )
  22. 4 points
    I let the body re-acclimatize for maybe three weeks. Actually the worm holes are completely filled with solid white powder, it is hard to remove. I tried 10Bar compressed air with little success, had to use steel brush to remove the powder from the surface tunnels. Only the few fly-out holed are emty. Nothing will loosen with vibration. BTW it plays like solid wood. And the neck is so nice, comfortable, and no nut buzz even without retainers. The biggest issue was hiding the lenght of pickup cables in the minimal cavities.
  23. 4 points
    Howdy. Finally getting some bench time in in a relaxed kind of way. I'm making me a bending jig - not a full fox style bender. Here are the sides The sides will be spaced by about 150mm to accept forms. Threaded rods will come out of the holes on the outside edge so enable a waist caul to be screwed down. I've also added holes at the from so that cutaways can be bend with a second caul. I'm also making a fretboard radiusing jig for my laminate trimmer (design shamelessly pinched from a build here I think). I like to think that I've radiused my last board fully by hand. This will give a 20 inch radius and I may make one for a 10 inch board. Ive yet to build the base and sled. Seeing as it is a bit cooler in the pit today (29 degrees.....) I thought I'd get round to fretting the first acoustic. I'm done grain filling and have knocked back the resin somewhat so this seemed like the last brute force thing left to do ignoring the bridge. I've gone big n chunky up to the body, then tall and thinner on the extension - not that anyone should be silly enough to go up there. Fretting this was a joy. I think Ive learned a few lessons - 1) cut your slots deep enough and prep you board well 2) there is only room for a fret in a fret slot. no dust or glue, none of last nights biryani or jungle soldiers still fighting the war 3) file off the remains of the trimmed fret tangs and do it well. This all may be basic, but this is the first time I haven't scimped on these things and the first time that everything's glided into place. Should have realised earlier that there's a reason that fret hammers aren't 5kg.
  24. 3 points
    Hi guys, has been a month since the last post... time flies. So I've completed the to-do list, except the electronics, which I'm currently waiting for. Apart from that, this is pretty much done. Sorry I didn't take any pictures of the process. Still have to setup this bloody hell tremolo bridge, but after a rough inspection, everything is in place and everything is like it should be. Have good feelings about it. So I already can start with the grain filling and preparing for finishing. See you in a month or so. By the way, the singlecut is already sounding, I just can't take decent pictures of it, but I'll try to solve it soon. Thanks for watching!
  25. 3 points
    I was having a bit of a clear up in my shop a few days ago and found a small piece of black/white pickguard, instead of trashing it I opted for a experiment. after cutting it on my band saw and laminating it into a pen blank, I then turned it on my lathe, the shavings were then used together with clear resin to mould a second pen blank.
  26. 3 points
    thanks for the tips @StratsRdivine! I don't think I'll be going the spray max route again, this stuff is too expensive for what it is. I even have a gun, I did spray some 2k once that I got from a luthier store in France, I might go back to this. Or nitro. I've done a classical neck refinish several months ago with spray can nitro and I'm super happy with the finish there. I think I used half a can of nitro (plus some sealer). Indeed I went through at the edge (the pressure being naturally higher there due to smaller surface under the sanding block) but I still claim my error was in having too much orange peel in the underlying shellac coat. I just had to sand too much with P1000. Anyway. I buffed the guitar but it didn't really turn very shiny, either the clearcoat was too fresh (~1 week?) or too thin. Now that the guitar served it's short-term purpose I can get back to trying to make her officially finished. I think I'll lightly scuff the finish and shoot some nitro over it (body+headstock) in hope that I can buff THAT up. I'll fix some small details here and there in the process. And order proper hardware. Meanwhile, it was perfectly fine for this:
  27. 3 points
    Tattooing the guitar... Still some work to do. I have some small detached pieces of abalone "flame" for the phoenix, and a few gaps to fill. I plan to carve a bit of detail on the head like beak silhouette with another piece of abalone and an eye, but this thing really lights up. I decided to use a dark epoxy on the phoenix because I like the dark border. It sets it off nicely and looks more "tattoo-like" IMO
  28. 3 points
    I have no idea why but I get excited like a kid when I get a haul of lumber in like that. I smiled when I saw that pic Mikro. The only sad part is when its gone after your project is done. while the competition is open to everyone- I agree- and I have a rule for myself- (vs not voting at all)- no build thread- no vote. I dont care if its a pro build- but no build thread- no vote. I will vote against it in that case. I have voted for some projects that while not the nicest looking or best built guitar- it had a build thread- and it was up against a pro build- and while the pro build BLEW it away- I voted for the scrapper because it had a build thread and the pro build didnt- and you got to see the scrapper builds warts and all- and the PG community was able to share in it vs seeing a nice pretty bad ass guitar with no build thread where no one learned anything from it. I think that is the essence of this community- sharing- right wrong or indifferent- and I wish this was around when I first started out. ramble over. 2 cents cashed in.
  29. 3 points
    Alignment test: I started putting everything together on Monday so play two rehearsals on it (Tue and Thu) before the gig on Sat, and in the process I realized that some of the hardware that I was sure I had bought I in fact don't have. I knew I'm missing a tuner, but I'm also missing black strat knobs (I have a pair but they're some super-ugly old ones from somewhere), black jack plate (I have to borrow a chrome one waiting for a different strat), and [drum roll] the .008 string that was supposed to act as the high A string. And so at the moment I'm working with this contraption: its going to be amusing, playing it live. It freaks with me in so many ways ... since my fingers feel a 7-string neck they automatically think "attention! B string present!" and I have a tendency to shift all chord shapes down by one string.. on the other hand they feel the edge of the fingerboard at the treble side and expect a string to be there, so despite the A string being missing I also have a tendency to shift everything down one string at the treble side. And to top it off the fan makes me loose orientation anytime I need to suddenly make a jump to some position above the 12th fret. I guess I can't just keep it simple, can I ?
  30. 3 points
    Thanks for the encouraging words, guys! O joy! Truss rod access hole day. One headstock, one heel. It actually went pretty smoothly. (again, thanks to @LtDave32 for his primer thread) I used my trusty 6mm guide block, and eyeballed it ... it'll do. As you can see in the last pics, that repair job is not going to be as invisible as I'd hoped. But at least it looks to have set in the pocket well, so no problems structurally.
  31. 3 points
    The ziricote ss is just about finished being buffed out. I got exceptional clarity on this one. Im quite pleased with how it came out color wise. this one is getting gold hardware and bare knuckle juggernauts.
  32. 3 points
    I just finished this pg17 up last week and got it over to my photographer. Im super happy with how this guitar turned out and the photos. specs are, Arete pg17, 25.5" scale, curly maple/zebrawood body, black walnut top, zebrawood neck with maple scarf joint, curly maple fretboard, hipshot fixed bridge, gotoh tuners, seymour Duncan Pegasus bridge pickup, seymour Duncan jazz pickup, 1volume/1 tone/3 way toggle, odies oil/wood butter finish
  33. 3 points
    In the meantime, one of the things to finish off before I give the headstock its final coat of Osmo is the ferrules. I found some unused 6-string electric through-body ball end ferrules and attacked them mercilessly with a file until they gave up the fight and fitted compliantly into the holes: After giving this its final Osmo and buff, it's the electrics installation...
  34. 3 points
    Just need to wire the electronics and put some strings... see you soon!
  35. 3 points
    OK so I finished the guitar... I have made so many mistakes on this build that I am keeping it as it is to remind me of all the places I went wrong. It is honestly the worst guitar I have ever played in my entire life! So here are the top 3 mistakes: Neck angle is not right; action far too high, some fret buzz (which may not entirely be the angle I guess). Headstock is too thick, the mistake was I didn't thickness it at an early stage and struggled to make it right. The lacquer didn't polish up too great, I didn't use a sealer so I'm wondering if the lacquer (or some of it soaked in to the poplar. Any advice on any of these three subjects would be GREAT! The good news is it looks quite nice, I have learned so much from my first attempt (and it is after all a hobby, if I was pro I'd be broke by now!!!!), I have had loads of fun and I can't wait to get started on the next one. To get the neck better on the next one I'm going to do a bit more research rather than going wild with the files and rasps!!! The next one will be better, I hope!!!
  36. 3 points
    The primary finish I wanted to trial was the Osmo Polyx Oil Raw (3044). Its claim is that it minimises the 'wetting' effect on lighter woods. I was keen, however in not losing all of the flame figuring of the sycamore in the process (it has a whitening filler in the oil that minimises discolouring of the end grain but does, of course, therefore risk impacting on the wood figuring). I also wanted to trial the Crimson White Stain to see, if applied very thinly, how much that would mask the figuring. With the Osmo, I wanted to check: Whether it did reduce the wetting darkening and tinting effect sufficiently Whether the figuring still showed Whether it could be 'slurry and buffed' Whether a satin silky feel could be achieved Whether it was sticky-less neck capable... I've done enough trials today to know that I'm going to use the Osmo for the main finish. Still got more work to do to verify the neck. First of all - freshly sanded (left) vs Osmo Polyx Oil Raw 3044 (centre) vs untreated timber lightly dampened with water (right). Pretty impressive: If I'd wiped the sanded-only properly, the darkness difference would be even less. The main thing, though is that the yellowing is substantially reduced - and that's just water! Figuring visibility is less, though. Then compare it with tru-oil on straight grain. Osmo top left, tru-oil top right, untreated bottom: Now that's VERY impressive. So what about end grain? Osmo top, where it's been sanded smooth, tru-oil middle, untreated bottom: Then what happens to the figuring if I use a very much thinned single wipe of the Crimson White Stain, left to dry with Osmo on top (left) vs Osmo on the untreated wood (right): I was expecting the Crimson stain to reduce the flame, but wow - for a single wipe of 50% water-thinned stain - the flame has gone...completely! Actually nice colour so, as a white stain on say, Ash, I think could work well. But not on my build. I want the one on the right! So I've done a trial coat of the bass in the Osmo - it will be sanded off to make sure I'm fully back to clean wood before I do the 'final finish', but this is broadly how it's looking after the first coat: That's the kind of look I'm going for so decision made - Osmo Polyx Oil Raw (3044) it is! And does it slurry-and-buff....it does indeed....it does indeed
  37. 3 points
    The pale moon fretboard arrived on schedule, so let's get into gluing it up. Quick preview before glue prep, I think it's going to be gnarly: So. on to work. As you guys know, I'm a big fan of preplanning and simplifying various construction processes with acrylic templates. My neck templates include a set of holes that are transfer-punched into the neck face and underside of the fretboard, which are then drilled to accept 1/8" steel pins. This allows me to simply apply glue, drop the fretboard in place, and move through the clamping procedure without worrying about the fretboard sliding out of place. Neck-side alignment holes: Stainless pins secured in matching holes under fretboard: Glue, clip, clamp. EZPZ: Nice joint, no worries: Luminlay Super Blue dots: Radius smoothed out, slots cleaned, ready for frets:
  38. 3 points
    It must be cursed wood since before it was planted. It came out pretty well after that. Got a few fisheyes that need to be filled.
  39. 3 points
    Neck mortise cut and neck heel fit. I need to tinker with things a bit and get the bolt hardware installed, then the top can go on.
  40. 3 points
    well getting closer to the dangerous part. Made the headstock decal, aplied it and started shooting shellac all over the guitar: here's a closeup of the headstock: I need to find something better to spray this stuff, I'm using this strange aerosol can that I can fill with air from a bike pump, I think this was working ok in the past, but now the atomization is poor and half the shellac is dripping from the nozzle onto my hand. I did clean the cap thoroughly so I don't know .. Looks like I'll need to figure out a better setup. I was trying to level the shellac with P220 and started to go through the paint in places, fortunately I noticed early. I did level the worst nibs fine, so I think I'll leave it at that. I'll try to paint/wipe and extra coat of shellac or two maybe. Then I need some better weather (we had a horrible 2-week heat wave and now its supposed to rain for a few days) for spraying the aerosol 2k that I got. I have 2 cans, so the plan is to do 2-3 light coats from the first can (until its empty), then wait 24h, level with p600 or thereabouts and shoot the second can before 36h pass from the first spraying. I understant this should make the coats melt together. Meanwhile I started on the pickguard - here is my fancy new router table: I need to work on extraction a little, right now the whole workshop is covered in this small black&white bacon ... Here's a test fit after laying out and cutting the neck "pocket"
  41. 3 points
    So now I've gotta get the top on there. This ziricote is fairly thin and I want to make sure the centerline stays where it should, so I'm making a new top clamping rig for this guitar. Enter a melamine cabinet door (thanks grandpa): The 1/4" holes are in the middle of the pickup routs and match corresponding holes I've drilled in the body core and top. I'll use short sections of steel rod as pins to keep everything aligned. Now I make a sandwich- bottom caul, body core, top, top caul. Easy! Simply add glue, clamp, wait, and presto! Nice clean joint all around. Some glamour shots of the body and chosen fretboard:
  42. 3 points
    Glad you find it fine... ^^ Made some pickup rings, matching the grain direction. 3 layers, 7 mm high... hope they are not too high.
  43. 3 points
    "Similar to Mahogany". Okay. Well it's not the stupidest thing he's said. I have to play both sides of the fence on the tonewood thing. Firstly, I don't think there is such a thing. It falsely inflates certain woods with a nebulous reputation which is rarely realisable on a non-acoustic instrument. On the other hand, some woods affect the instrument and how the strings strapped over them vibrate. It's a system even if you're using magnetic pickups. A rubber neck would sound different to a steel neck. Wood is just a narrow band of characteristics in between those two.
  44. 3 points
    Any dust extractor is better than none at all, that's for sure. Hijacking is fine as long as there is valid conversation to be had, and the OP isn't pushed out. Wengé is a great wood, and yes, it's fairly heavy. Not as much as the white Oak used in the build for my friend's Telecaster....or Ash for that matter....
  45. 3 points
    Ok, so it IS possible to get a good result with Magic Marble. For some reason most of my previous tries (and many of the ones I saw online) ended up with washed-out colors, there was not enough paint towards the end of the dip. But apparently if you keep the surface of the water reasonably big and go slow you can get nearly full coverage. Proof: more to follow. Also video. Now to not mess this up ...
  46. 2 points
    The top is topped... I think while tightening down the spool clamps the rim flexed and distorted a bit, but overall the join is good. I also drilled the holes for the bolts in the neck block. Hopefully I'll have time to get the top trimmed flush to the rim tomorrow.
  47. 2 points
    Time to oil him down. An awful lot of him was exposed end grain, so he ended up being quite thirsty. Those are not bubbles in his eyes, those are sparkles.... ....and twinkles. SR
  48. 2 points
  49. 2 points
    Wow! That's got even more bling than the latest Audi models (and that's setting a high, high, bling standard!) I think we need a new descriptive word - bling doesn't even get close. I just LOVE that double notch headstock.....
  50. 2 points
    I'm slowly but surely getting there with determining the saddle position. Now it has the proper gauge strings, adjusted truss rod and the action height about right, I reckon the saddle will need to be about 1mm further back than this: I'll reset it and try it out in the morning. In the meantime, Happy Midsummer Everyone