Jump to content

Leaderboard


Popular Content

Showing most liked content since 10/19/2017 in Posts

  1. 6 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. 5 points
    Finished: Custom 8-string KR3 - Buckeye Burl top on Swamp Ash body (wings), Wenge/Maple 3-piece thru-neck, Marblewood fretboard, ABM 3210s, Hipshot Grip-lock, BKP Painkiller (custom 16 degree baseplate) w/ aged cream coils...
  3. 5 points
  4. 5 points
    I spent Saturday finishing up the finish. It polished out nicely. SR
  5. 5 points
    Good point, I could also observe this, especially at the electronics cavity. I don't like that round over where I want to get sharp edges. Any tricks to mitigate this effect? Guess it should already be helpful to give these regions special attention , i.e. touching them only as little as possible (which probably means excluding the random orbital sander...) Assembly and setup...woohoo! By the way, I took the chance to exhibit more photos in the current GOTM. I'm grateful for any feedback or suggestions! However, there are still a few things to do: fine tuning the intonation compensation of the bone nut tuning of cap switch capacitance (switched via tone pot push/pull) changing the volume pot from linear to log (personal taste) I've also made a time-lapse video of the guitar assembly: ... and this is a proud builder with his new toy:
  6. 5 points
    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.
  7. 4 points
    It's that time again, the blanket is out! Won't be too long now before this one is finished... Although I did have to dedicate some time today to admiring this Ziricote drop-top that arrived from the US over the weekend. Love this stuff and this top is going on one of three new custom builds just started - 8-string multiscale DC (Wenge/Maple thru-neck, Sapele wings, Bocote fretboard, BKP and Hipshot hardware)... Watch this space for updates
  8. 4 points
    In the shade and taking a page from Luis' playbook. SR
  9. 4 points
    Still not finished, I decided to top it with a thin layer of nitro, I'm redoing the pickguard (made a new template already).. I did finish the swirl video at least:
  10. 3 points
    Mockup Time! Still several applications (guess "coats" doesn't work) of Odie's Oil to go, but had to do a mockup to confirm bridge location and nut height (more honestly, to drool over my own build, and get a sense for balance and feel). Looks like weight will be a little over/under 8 pounds (3.65g). I wasn't really shooting for light weight, though Limba IS a light wood, but wanted a full 2 inches (51mm) of body thickness. I could have thinned the body, made a larger controls cavity, or even taken off a tummy cut and arm contour ... but that would have made it too "stratty" (thought that might happen on Padauk Mt.Fuji #2 ).
  11. 3 points
    get the paper plans finalized so I can make templates tomorrow headstock. I increased the nut width to 1.75" wide. I will probably do a nice big fat and chunky C/D carve on the neck- somewhat south of a full flown basebat bat but enough meat on the neck to really put a chunk of wood in your hand.
  12. 3 points
    Another thing I noticed this morning was that after that nice polished finish sat overnight, the finish shrunk into the pores. I leveled it and polished it out again, Luckily, it didn't take much to level. I guess it shrank just enough for the edges of the pores to reflect light and show where the pores are. It may do that again....and it may just stay that way if it does. SR
  13. 3 points
    Now the guitar is almost finished so I took a photo with the hardware. I choose golden hardware, because I think that it matches better with the wood and complements the golden mop purfling. I f I could go back, maybe I would also put EVO gold frets... Now it's time to varnish. I didn't want to dye the wood, so to get an hi gloss finish i decided to use polyurethane and acrylic 2k finish. This combination is really easy to sand and you can get a mirror surface with no need of wet sanding. This is the guitar after clear coat. The mop stands out a lot under lacquer! And this is there result after finishing and buffing. I couldn't be more happy!
  14. 2 points
    That's a trick question.....and it answers mine. Unless you are like my buddy @pauliemc over in Dublin and marry a rocker chick, then the answer is: of course not. At least for the first several years. Once you've been married long enough (to start getting on each other's nerves---er, I mean to be completely comfortable with each other), they start looking forward to you having another room (garage, closet, shed, back porch, or as we sometimes see here, balcony) where you can go and spend extended periods of time building guitars (staying out of their hair). It's a worthy goal. SR
  15. 2 points
    ...Meet the Brollichan. It's still rough in places but getting there. Very pleased with the deep cutaway. Might encourage me to play up there more.
  16. 2 points
    On the bright side, I've decided to move forward with the renovation of my childhood home. It will be the biggest project I've ever done I suppose. I have some very interesting architectural features in mind. Outside, it will look like any other old fashioned house built in the 50s(It was originally a family residence on an Air Force base before my Grandfather bought it at auction for my Mother to have a home to raise us in.) Inside it will be very interesting I hope. Anyway, I intend to level it and put more support underneath this Winter while the snakes,wasps,etc are not an issue and I'll start in earnest after that. Probably around January. I have no good memories of that home. My sisters and I always hated it there. My Mother was a dreadful housekeeper and my sisters and I would never invite friends over because we didn't want them to ...well, even now I don't want to say why. My Mother signed it over to me some years ago. I think it was her way of trying to make up for blaming us for everything bad in her life, and I am the only one left who isn't a junkie, since my little sister died of cancer a few years back( as you may recall.) I intend to change the memories of that house. If I can turn that place into a cheerful home that honors the gift my Grandfather made to us, well then, I can do anything. I intend to post pictures. I will cover the entire project in here.
  17. 2 points
    Yet again, Limba is kinda soft, so the neck bolt area became the next target for Intensified Sonic Dispersion. After routing, I found that I miscalculated, and the "plate" was 1mm too high. Rather than trying to get the template precisely over the original rout (and possibly making the rout larger ... assuming that CAN happen), I pulled out a hand tool that did the job quickly and accurately! And I enjoy using hand tools from time to time. I know this will clash a bit with the controls cover, but ... The controls cavity will have an unusual interior (i.e. not LP), but it's similar to what I did with the Chinaberry basses. I forgot to take a picture of the finished product, but here's mid-rout and the slightly recessed cover.
  18. 2 points
    Hell of a challenge you're taking on there, @Mike.Mara. I'm currently at the tail end of rebuilding my CNC too (not my first foray into CNC, but certainly my first build) and I echo most of what @MiKro has to say about setting the primary goals and limitations. The machine I'm putting together is about 600mm x 450mm x 100mm cutting size. Frame is aluminium (or aluminum if you prefer) 30-series extrusion plus some 10mm Al plate for other components, gantry is the single Y-axis drive variety with the underslung crossbeam, Hiwin-type linear rails, 1605 ballscrews, NEMA23 3A steppers, 1.5kW spindle with VFD, generic M542 drivers. Mike's estimate of $2.5K AUD is not far from what I'll likely end up spending once it's all done, including some kind of control box to house all the electrickery stuff, 90% of which was purchased from China and assembled from scratch. Rigidity, slop and backlash is good, with the exception of the Z axis carriage, which was my own fault for purchasing a prefab unit in the hopes it would save me some time and money by not having to make one. Two unsupported 16mm rails with one bearing block per rail just isn't enough to take the weight of the spindle, and the whole thing visibly wobbles in the Y direction. Lesson learned - I'll be rebuilding a new Z axis from scratch using profiled rails with two bearing carriages per rail like I should have done to begin with. I already use LinuxCNC on a PC with the baby CNC3020 I bought a couple of years ago, rather than Mach3. As Mike suggested, I initially thought I was going to struggle finding a PC with a parallel port, but the $15 PCI parallel port card I bought from eBay has worked perfectly. I'm not sure if they're as effective with Mach3/4. If you work slowly and incredibly carefully, and are willing to prematurely age some router bits, aluminium will cut with a hand router. I've made up several adapter plates for the ballscrew bearing supports by creating templates out of acrylic plastic on the CNC3020, cutting the 10mm Al plate as close as possible to the dimensions of the plastic template and finishing off the Al shaping using a router fitted with a template bit. I could have used the CNC3020 to directly mill the Al plates, but the process is incredibly slow and the use of cutting lubricant makes it messy too. That's something you may want to consider if you're looking at making a machine out of MDF. It might be strong enough to mill aluminium, but as soon as you start spraying cutting fluid onto the workpiece, the MDF is going to soak it all up in the process.
  19. 2 points
    Here's a video I did some time ago about a guitar I built for my daughter's 7th birthday. Initially I didn't post it here since I figured this is not really the target audience, but then maybe somebody will find parts interesting or amusing. Also I watched @sdshirtman 's videos and figured why not (BTW where is part 6 of the Helix build??! ) So just a word of introduction: I tried to film every part of the build process. Some parts are missing, mostly tedious jobs like sanding etc, also I think I lost a clip or two - but in total this was something like 9h of video material that I compressed into 13 episodes of around 10-15 minutes each (mostly by speeding up the footage). There is a lot of narration because the aim was for the video to accompany the guitars, i.e. I'm explaining the build process in a way that someone with no idea about guitar building could understand. Possibly even a 7-year-old. Also (as I keep stating in the video), this is not a how-to, it's more of a "proof that you can build a guitar in the kitchen" video. I'm probably doing some silly things here or there, but the end result is perfectly fine. Oh, and it's all in Polish - but I subtitled the whole thing in English. Anyway, here's the playlist with all episodes:
  20. 2 points
    Well.....yes. But I always claim that it is intentional, that it shouldn't be rushed as the guitar needs to settle in, Instead of, it's just too much fun playing with a new guitar to be bothered with trivial details like that. SR
  21. 2 points
    just realized I havent said this in a while. Mt FUJI!!!!!!!!
  22. 2 points
    Final build task before starting the finishing is tidying up the neck profile. I will do one last tweak once the guitar is finished and all strung up but to get it pretty close, I go by feel and then, holding the guitar a bit like a back to front cello, I use a scraper - drawing up the neck length very lightly - to take away any lumps or bumps along the length or facets around the profile curve. And that's it! Basic build is complete and finishing has now started I use a variation of the tru-oil slurry-and-buff method as a combined sanding lubricant, grain filler and sealer. The body will actually be gloss varnished eventually, but I have found this method to be just as good as a gloss prep method as a finished method in its own right The only difference (if at all) is that I probably use coarser abrasive cloth at first - typically 120 grit but sometimes even 80 grit. This is the first application following the normal 'final sand': Five minutes later, I have this: And then fifteen minutes later I have this on the back and neck too: The slurry from the sapele, wenge and purpleheart will, if not wiped off, discolour the maple, so I always wipe off the wet tru-oil from the maple even before I start the actual slurry and buffing. When dry - this will look a bit naff - as the oil soaks in differentially. I will probably repeat with a coarse grit once more, once it has fully set, before starting the proper slurry and buffing Sunday/Monday-ish In the meantime, to MrsAndyjr1515's delight, there are a couple of small guitar and bass jobs that have been waiting a while that I'll be getting on with.
  23. 2 points
    Congratulations on a well-deserved win, @seb and also thanks to both @argytar and @MassimoPL77 for sharing their sublime builds. This was a vote that didn't open with a clear idea on who would win out. A real nailbiter!
  24. 2 points
    Youth is wasted on the young. One of my favs. Time is indeed ticking, and it's really pissing me off. Snow has already fallen, and I still have to mow, pick up the last leaves, lay some grass seed, do some small painting and caulking outside, winterizing the small machines, etc. Add life events, and a new audio install in my car, a pedal build, and the three guitar builds that i keep going back and forth on but can't seem to get any actual shop time with. I come in here periodically just to lurk and keep in touch, living vicariously until I can start posting some regular field dispatches on my own activity. I'm getting close.
  25. 2 points
    This probably illustrates easier. The binding was glued to the straight and square side of the fretboard, leaving a 2mm step along the join with the neck. Using a scraper, and the fret-ends as the limit at the fretboard level, I scraped at an angle to taper the binding at the neck profile angle and lose the step. You can see an area still to do on the righthand side of this photo: The bit of luck is that if the fretboard had already to been shaped to the flat 'C' it will be when finished, instead of the slight 'D' it was still at, I could not have hidden the step where the binding meets the maple as a smooth, continuous curve - there would have been a kink in it. Phew!
  26. 2 points
    It's looking very good from over here Good to see someone else who uses pencil and paper
  27. 2 points
    Tx. You should see what is hanging on the other walls. Building 2 at a time is easier and faster than building 1 at a time
  28. 2 points
    Here some updates, going to the end!
  29. 2 points
    Wow ! Congrats to both Seb and Massimo! Great work and attention to detail! Very honoured to lose to your creations guys, they were truly unique and inspiring!
  30. 2 points
    Gosh - what a wonderful trio of jaw-droppingly good builds. argtar's 'Danae' warmed me up with a familiar, comfortable look but with some features of its very own that just enhance that feeling further. I love the colour and figuring of the top; the neck is nicely bound and inlayed; the neck looks very playable. The only change I would make if it had been built for me (in my dreams!) would be maybe for the rear body wood to be toned with orange stain to get closer in the colour spectrum of the neck...but you can only be that picky in your dreams Then what can you say about MassimoPL77's 'Ladybug'? I have simply never seen inlay done that well before. Ever. On anything. From any time period. The quality of build carries through to the guitar itself with excellent binding details, a very nice scarf joint and volute and a great finish. Again, it is only in my dreams that I would own a guitar of this standard, so what would make the dream perfect? Well, possibly a slightly thinner body? Again, you can only be that picky in dreams.... And then to seb's 'Model 222'. Well this ticks so many boxes for me it's just crazy. You will have seen the stuff I've been doing with my piccolo bass build and the 6-string electric ongoing version...well there are so many parallels. I'm VERY interested in the ways of building light. I LOVE a decent offset. I LOVE the colour. In short, there is NOTHING I don't like about this guitar And it weighs 6.4lbs! In that I generally vote in the end with 'which one would I want to take home with me the most' , it's Seb's Well done all. Superb stuff
  31. 2 points
    I've found that microfibre cloth is quite good at removing the dust - if you want to keep your pants clean Wow. What a little cracker!
  32. 2 points
    Festbier - a collaboration between Burial and Creature Comforts. a nice super smooth Marzen/Octoberfest and in Georgia- all rainbows lead to bottle (liquor) shops
  33. 2 points
    Wow, all three of this month's entries are exceptional guys. They truly are! It's almost a battle of the singlecuts. Almost. argytar, "Danae" A beautiful hybrid of styles that maintains the best of everything it draws influence from. The rockabilly potential of this guitar is totally out there. Love it. MassimoPL77, "Ladybug" Whoa. Both the sound and looks of this guitar are off the charts! I also expected a very bright and brittle sound, but the video demo shows just how wrong we were in even thinking this. The LP DNA runs through this one. Exceptional skills, patience and an eye for creating beautifully balanced work. seb, "Model 222" Simple and direct. I like that. Your build thread shows that there's a lot more going on under the hood than first looks might tell. Lots of subtle but important details.
  34. 2 points
    Slow progress so far, to many other things popping up and health shit as well. Managed to get the X Axis trucks done, after leveling the table and the frame. Added the Y/Z uprights, still a lot to add to get that working as well as much to do for the X Axis. Checking square and movement in picture. So far Okay. Again a lot to still do.
  35. 2 points
    Indeed, absolutely top drawer stuff. All machine-borne sandpapers, pads, etc. will round over edges as there is flex in both the mounting pads and the abrasive itself. I use the Mirka DEROS almost daily at work (I promise to review this very soon), and we use the "pad saver" interfaces between the mounting pad and the abrasive. Even with thin Mirka Gold stearated discs, there is a tendency for the pad to conform to shapes and over edges. Mirka Abranet does this a little more, and of course the foam-backed Abralon pads do it a LOT. The two solutions I use: Keep ahold of scrap cut from the workpiece, so that you can place it next to it when sanding. This only prevents angling/tipping over edges, and doesn't help too much with pads conforming and rounding over. Better ROS usage. The machines sand more or less equally from the edge to the centre of the disc, as the orbit is equal at all points. Don't let the machine "hang" over the sides of the workpiece when doing edges. Having maximum pad-to-workpiece contact at all times reduces edge softening. The gold standard is to use a hard sanding block of course. If you specifically require very sharp edges, that's the way to go. In general I think that most of the solution is in improving machine usage. This is entirely why I prefer the 125mm discs over 150mm discs.
  36. 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 4qm 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 tonerange Building time: 02/17 to 08/17 Project Guitar thread of the building process 'Model 222' specifications in short: Scale length: 25.5" Body: mahagoni, chambered Neck: mahagoni, 3 pieces, scarf joint headstock Fretboard: mahagoni, 12" radius, hardened, porefilled 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 Mahagoni 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 pleasent feeling Matched electronics cavity cover Three piece mahagoni 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
  37. 2 points
    Not precisely a guitar build, but this happened in the middle of this build. You may recall I had some Padauk lying around, and my daughter found out. They just bought a small condo in Hawaii, and "needed" a small shelf near the entry for "pocket junk." and "just-got-home" junk ... AND a key hook, AND a coat hook (technically, nobody has coats in Hawaii, so jacket/hat/handbag hook). She and her hubbie also had a LONG list of "Daddy-Do" chores, many of which were to make their little place easier to live in with their new baby, my grandson. Here's the preparations in Japan, the adjustments on-site, and the finished products ... The last two pics are a table ornament I made for my older daughter's church in their home. The lettering was freehand with a trimmer/router, and the backside was with a template using a dish bit on the larger router. Finish on the home accoutrements was 2-part waterbase urethane, the church ornament was wood oil I got from @a2k.
  38. 2 points
    So my welding machine came in. I turned a Flowmaster I had lying around into a second muffler to cut down on the noise. Now it's a Hot. Rod. Lincoln. (I expect Mike and Scott may be the only ones that get that reference)
  39. 2 points
    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:
  40. 2 points
    I've agreed with Tim the headstock shape. He wants 3 a side and staight runs. I've tried to go halfway between the long thin Ibanez SR bass approach and the short, triangular Wolfgang EVH/Seagull electric and acoustic approaches. I've also managed to cut another sliver of the camphor laurel off an offcut as the headplate: The plate at the nose will be sanded through to reveal the laminates beneath. While doing that, I've been continuing to creep up on the neck heel. I'm still doing this more by feel than anything else. To keep the fairly modest lower horn cutaway of the front view, but to get better access to the top frets I'm now deepening the rear cutout carves into the neck itself. Because this takes away wood where the side of your hand would normally hit the body, it makes a BIG difference to the feel: Still got to reduce the neck depth taper for the upper frets and get rid of the lumps, bumps and sharp edges, but it's starting to get there. At the other end of the neck, the headstock wings are just being glued as I type
  41. 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:
  42. 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!
  43. 2 points
    Hi! Haven't posted in a while. Some time ago I made a Gretsch-o-tele project and named it after my daughter. So... This is Danae! It's close to an orange chicken , but it has a flat top and a bolt-on neck. The body was routed also for conventional string-through - body if you put a norman tele neck on. The custom bridge is floating as per vintage Gretsch. (I have an original 1966 6120 dc Nashville and got much info outta that.) Mahogany body with 5A maple top. QS chunky maple neck , bound. Ebony fretboard with real MOP "neo-classical" inlays TV Jones classics Schaller tuners Bound matching headstock inlaid "Danae" with real MOP CTS pots Switchcraft three-way toggle switch. Switchcraft jack. Orange drop .022 cap. Bolt-on neck at an angle Sawn - off Bigsby B5 Custom ebony rocking bar bridge. Finished exclusivelly with schellac!! Take a listen!
  44. 1 point
  45. 1 point
    Glued the bridge plate/pickup ring yesterday ... After a bit more sanding, locating the bridge, and a few final tweaks, started to apply Odie's Oil. It's become a little cooler, so this stuff is thick. But as instructed, using a little abrasive pad (not sure, but #1500?), it starts to work into the wood. I knew the Limba had some interesting things going on, but the oil really brings out all the wood "eddies" ... Cool!
  46. 1 point
    Yay! Finally finished de-PhotoBucketing all 205 "old" photos in the thread! Unfortunately I can't fix any quoted images. It looks like the PG caching wasn't that successful. Never mind, they are all PG-native images now. It sure was fun revisiting the progress. I'll admit that I have been lacking in enthusiasm recently due to some of the setbacks, but will come out fighting again now. It may not be quite as perfect as I'd have liked, but it's still not bad for a first build
  47. 1 point
    That tale does sound like it would go well with a couple of pints....or so. SR
  48. 1 point
  49. 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
  50. 1 point
    here's a king V Phil Demmel inspired with BC headstock KH inlays, all mahogany, wenge fret board, dunlop frets, kahler, emg, sperzel .....
×