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Showing content with the highest reputation since 08/17/2019 in Posts

  1. 4 points
    The covers are done. the wallnut one goes half of its width recessed, because a wanted it projected a few. Didn't like completely recessed. Some pics: Scopinoscar
  2. 3 points
    Last one. Dialed back the black. Feels a lot more natural
  3. 3 points
    Another detail added. Trimmed down the plate. Glad I did. Grain is awesome on that piece.
  4. 2 points
    haha, thanks! I was going for a harpoon for the headstock, but that works too! Here is a design i stole from the internet. Also a re-sprayed Lizardburst SS. And a black cherry ss.
  5. 2 points
    The lapel mic was a free gift from @Urumiko and has made a huge difference to the audio quality. It's hard to find the sweet spot for volume because it's relative compared to other youtube videos you've just been watching. Just finished episode 13, fret slotting
  6. 2 points
    On the contrary! Imagine how worthy being defeated by this entry would be?
  7. 1 point
    Glad you got it sorted! Re the ground wire under the bridge: It doesn't hurt.
  8. 1 point
    For sanding level, then I find using a hard sanding block is essential. Soft pads are fine for getting a good surface finish but they will - as you have found - follow the profiles. With a heavily grained wood, a soft pad can actually exacerbate the unevenness by riding over the hard peaks and sanding into the softer troughs. The build's looking good
  9. 1 point
    Looks like I should make a lacquer finished guitar at some point. That gloss just is soooo yummy!
  10. 1 point
    There's so many things you can do if only you have some courage! Nicely done with the binding as well as the entire project.
  11. 1 point
    I'll start with the usual sound talk. I'd say you got it about right this time. Clear speech, noticeable but not harsh tool noise and bold yet gentle outro. To be honest I lowered my Windows volume from 30 to 25% which actually is what I've been using for videos, 30% having been used for game speech. I also noticed that at least the speech volume of @Urumiko is quite similar to yours. Anyhow, well done! To me using a razor saw rather than a marking knife seems odd. Leaning against the edge of the protractor has that triple insured feel... Thanks for the tip of cutting the edges first! I've done that when scraping but obviously it works as well or even better for sawing.
  12. 1 point
    Nicely done, that's a very sweet looking guitar! SR
  13. 1 point
    Hell, I might just get plenty of crickets, grasshoppers, etc just by putting a light in front of the duck "house"
  14. 1 point
    So my buddy had an interesting idea. Cricket farming as food for the ducks, etc. That would be pretty damn easy.
  15. 1 point
    I double and triple checked the bridge position with the jig and then drilled two securing holes through the top E and bottom E bridge pin holes. That done, I squared up the outside edge of the bridge with a block plane: Then popped the drills in from the back so I had some locators when I glued it up: Masked up the bridge area and then razor cut around the bridge and removed the tape to scrape and sand the grain-fill off that area: Finally, added the glue and used my long-reach clamp and the little jig I made to be able to apply clamping pressure to the bridge wings: Left it overnight and then double checked it had stayed in position. And it had Next job is to fit the pickups and then I can get the back on and do the back binding (yes - I know you are supposed to do it the other way round but what else would you expect from Anyjr1515 )
  16. 1 point
    Lovely pieces there, big enough to make some nice matching control covers, headstock veneers etc with too
  17. 1 point
    Are you talking about chatoyance? Thanks for this forum I know what it means! So, chatoyance or cat's eye effect is an effect found in gem stones and wood among other things that makes the surface look like it were a mile deep, almost like glowing some inner radiance or reflecting the ambient light from impossible angles. Like being able to see to the very soul of the wood. No, you're not crazy nor do I confess being that (which makes me incurable). There's a Finnish pop song called "Window to outer space" telling about kids licking a certain dark spot on a rock to make it more shiny so they could then peer into the immeasurable depths of space through that peephole. The thinner the finish on the surface the stronger the chatoyance effect usually is. Also, it seems to be stronger if the surface has been leveled with a very sharp blade like a plane or a scraper instead of sanding but that depends on how the dust has been removed and how much pressure has been applied when sanding. Applying too much pressure while sanding will bend and burnish the raised grain instead of cutting it flush which agreeably will make the surface level and shiny but close the curtains for the windows to the inner treasure chambers.
  18. 1 point
    I know this isn't meant to be a 100% family friendly forum, but I could have done without that piece of intimate information.
  19. 1 point
    That's what I meant. Seems I outsmarted myself. Thanks!
  20. 1 point
  21. 1 point
    What about a black grain filler with clear gloss over it, that would make the body wood stand out against the binding a bit more and still have a nice natural wood look. It'll look amazing whatever, is that a signum bridge I see there?
  22. 1 point
    Awwww Stooopid stoopid stooopid me!!! Why didn't I see this twelve hours ago, or even seven? Magnets, of course, and I have a hundred of them - somewhere.
  23. 1 point
    That's a really nice touch with the magnets, I always struggle to find nice pieces for a truss rod cover, the fretboard offcuts are almost never long enough to get the grain going in the same direction.
  24. 1 point
    Yeah, but I figured Mike would want a nice figure.
  25. 1 point
    Well... There was quite some sunny days but the only guitar related thing I did was to reshape the neck of El Pish. This one stayed in the bag all summer long until today when the course started again. Course? Well, for most of us it's therapy but in the booklet it says Guitar Building Course, with the aim of building a bolt on T or S type... Anyhow, today I spent most of the day sanding, damping, sanding, damping until finally I was all fed up with the sanding and opened the bottle of Crimson Penetrating Guitar Finishing Oil. She became alive:
  26. 1 point
    How many bloody axes does your hip need?! I imagine a stepper would be pretty sweet for kicking ass, rotary style.
  27. 1 point
    Thanks, Ash. I made a small cut ( an inch, inch and a half maybe) with the band saw prior to glue up to sort of locate it. And after glue up I drilled a hole all the way through to locate the center opening. After that, it was hand carving with small palm gouges.....one chip at a time. I only had to go halfway through, from both sides. SR
  28. 1 point
    Episode 10 finished Building DC Guitars - Episode 10 | Shaping fretboards
  29. 1 point
    Yes - a very well deserved GOTM win...once again!
  30. 1 point
    The tang should fit the slot snugly by width and shouldn't be taller than what the slot is deep and the barbs should provide the grip in the sides of the slot as the above posters have said. The illustration should make it clear:
  31. 1 point
    A contentious issue I suppose (which in itself is kind of silly when you think about it), but everyone has their idea of what contributes to the (amplified) 'tone'. By 'tone' I mean what in classical circles is often referred to as timbre, but rightly or wrongly I've always included sustain in to the equation too. From my limited experience, here are my small nuggets of observations. I think that nut material absolutely does, compare a wood nut to a bone nut for example. The wood nut (padauk in my case) was dull and thuddy on open strings in my humble opinion. This suggests to me that nut density contributes to a defined tone. To such an extent I'm fairly certain that this dull character will change when I change the nut to to a brass one. Another. I think the neck plays a huge part in the tone of the guitar. Much more than the body. Notes that sustain nicely acoustically on a neck seem to translate nicely to the amplified sound. What exactly the magical formula of the ideal neck is remains elusive, but I will say that the Wenge and ebony (fretboard) neck i built seems to have a beautiful ring to it that was evident both removed from the body and attached to it. I think that density has a lot to do with this. Ofcourse there's definitely more that I have forgot, but its late at night Thoughts?
  32. 1 point
    Nice to know my memory hasn't completely left the building. SR
  33. 1 point
  34. 1 point
    Right, so what have I misse....oh fffff
  35. 1 point
    If it was mine, I would single-handedly stand in front of it and defend it from even an advancing ARMY of paint sprayers. There are still some things worth laying down your life for.... Seriously, it's one of the most 'together' designs and colour combinations I can remember ever seeing.
  36. 1 point
    Yes, to an extent. It's not for large areas or taking away lots of material but it can be very delicate for fixing something like a drop of lacquer on a flat surface. Let me explain scrapers a little deeper. A scraper is a piece of steel plate with an edge. There's several ways to sharpen the edge, for cabinet scrapers the easiest way is to file the edge in 90 deg angle against the sides. The 90 deg edge will act as a blade. If you want that blade to be sharper, you can fine tune it with a burnisher to create a burr which is sharper. The finer the file used for basic sharpening and the sleeker the burnisher the smoother the burr edge will be. Simplified, a razor blade is a very fine edge with no saw tooth coarseness. This illustration shows how a burnished scraper looks like enlarged. Notice that the edge can be of any shape but it has to be both consistent and smooth length vise.
  37. 1 point
    Yes I totally thought the heavy grit paper would make it easier. I've noticed that the 320 worked pretty well with this. It just takes time and elbow grease. I agree...deal with them on the wood and it's still super smooth so I think it would work.
  38. 1 point
  39. 1 point
  40. 1 point
    That sounds like a solid start for a fruitful discussion. I mean, you didn't mention "tonewood" at all and you include sustain to the tone. For what I've understood and learned, the "timbre" of an electric guitar doesn't transfer through the pickups as such. That doesn't mean it can be omitted since sustain is part of it and that definitely can be magnetically amplified. Also, the more the guitar vibrates, the more feedback it gives to the player affecting the way he plays. So although the timbre can't be amplified, it has an indirect effect to the resulting sound. About materials, I classify them to "soft" and "hard". By "soft" I mean something that has more or less rubbery features in dampening any vibrations. Obviously, "hard" is the opposite, not giving in. As you've observed a wooden nut had a thuddy sound compared to a bone or brass nut. Is it because of density or stiffness, I can't tell for sure. Maybe both. You're right about the neck. Because it's much thinner than the body blank, the vibrating strings have energy enough to move the neck accordingly which in turn can extend the life span of the sustain. I mean, the vibrating neck acts similarly to the player's finger nudging on a fret to elongate a note. Because of the proportions, the neck must also be "hard" - not necessarily all the way, but at least partially for all of the length. The fretboard has to be hard for wear resistancy, the truss rod adding to "hardness", the two allowing some freedom for the neck material as long as it's strong enough to stand the palm wear and the string pull. I've heard that a guitar made entirely out of marble would have infinite sustain. One thing that hasn't yet been mentioned is the finish. Obviously a 2 mm thick flexible lacquer will thuddify the sound, both in the neck and under the bridge. A thickly lacquered/painted solidbody with a hardtail bridge laying on the surface might benefit significantly by removing the finish from under the bridge and from the neck.
  41. 1 point
    Fast and dirty, just like my *** life.
  42. 1 point
  43. 1 point
    I did manage to get some carving done this past weekend. SR
  44. 1 point
    Close enough with a twist to wake up some interest. Nice find!
  45. 1 point
    A few hours of judicious scraping, floss-sanding and checking got me where I should have been: And still straight: Couple of swifts: And then the neck carve. I carve necks holding the instrument a bit like a back to front cello. Here's my kit: The templates were taken from Matt's favourite acoustic. Bit of work with the spokeshave, just to take the bulk away but most of the work is done with a card scraper: ...and in a surprisingly short time we're getting close: I'll finish with a sanding block but, always time for a quick mock-up
  46. 1 point
    I was just staining and sealing the top of one of my builds (with maple cap and faux binding) over the weekend. See the pic below, I didn't tape off the side when staining, that is because I'm going to scrape back the edge with a razor blade so that it naked maple along the edge just overlaps the top slightly, so there is a tiny amount of overspill on the maple, but that will all be removed during scraping. The trick is to wipe the stain outwards at the edge, if you wipe inwards from the edge - it will drag the dye down the side which you don't want. I did however have to tape off the lower horn. This is a massive PITA on PRS style builds but it is much easier with good quality Scotch tape or Frog tape than it is with cheap masking tape. Note in the first pic at the horn where the tape was removed, there is a still a tiny bit of bleed where the maple meets the mahog, even with good quality tape that is well burnished down there is still a tiny bit of bleed - it can easily be sorted with careful scraping, but I hope it goes to show that you can't rely on tape to give a perfect line. I'm planning to scrape the faux binding tonight so I'll show you a pic of the scraped version later as the scraping is what males it look like a proper job. Oh one last thing, I find it's best to spray sanding sealer after staining but prior to scraping as it stops any colour running. Then I seal the sides once the top is dry and scraped.
  47. 1 point
    Sssmmooootthhhhh... She looks like wanting to be cuddled.
  48. 1 point
    Thanks chaps, some photos and final spec of my baby below. Spec 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 scale: 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
  49. 1 point
  50. 1 point
    Carve is getting there. I still need to round off the edges on the pot recesses and put in a bit of a back carve around the edge of the body which I'll do with the orbital sander. You can see I've had a bit of a mare with pilot holes - fortunately I can plug them with dowel and redrill, I've got a few mm to play with on each one and I need to move the pilot holes from the two coiltap switches (between the volume and tone recesses slightly closer to each other. I've done the recesses for the pots with a 1 3/4" bowl router bit but I'll just use a countersink to do the smaller recesses before drilling the final holes.
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