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Showing content with the highest reputation since 12/16/2018 in Posts

  1. 6 points
    update: all done! update 12/15/18 ======================================================DONE!
  2. 5 points
    Osage orange loves Danish oil. And Zebrawood loves Tru-oil. SR
  3. 4 points
    A bit more process over the last few days. I've routed the neck pocket, got a good fit and confirmed the break angle is correct with the bridge. Stuck on the binding and trimmed it flush with the neck, gave it another going over with the radius block, cleaned fret slots out etc and Installed some 2mm white MOP side dots. I still haven't figured out exactly what I'm going to do regarding inlay, I've got mop blanks so will do my logo on the headstock and there will at least be something custom at the 12th. I was originally thinking something viking themed, maybe a shield, but I thought it might be cool to do something Aztec/Mayan related given the top is Central American. Continuing to carve the top while I'm thinking about it. Carving this top isn't too bad, the wood is seriously hard and I have to hone the gouge on my strop about every 5 mins or so to keep the edge but I'm getting through it, it only likes being chipped in one direction too so I'm having to be extra careful when nearing the final dimension not to tear out. The 18mm top weighs more than the 30mm limba body so this is doing some serious weight reduction too!
  4. 3 points
    So I've been having my first proper go at inlaying MOP. First impressions are that wood is a lot easier Starting off with my headstock logo, I found cutting it with my coping saw to be quite tricky so I cheated and did the larger cuts on the band saw, then the coping saw where I had no other choice and finished off with my little jewellers files. It's very easy to file especially being only 1.5mm thick, however it's not much fun standing there for an hour or so with a respirator on, nasty stuff! I made a black glue by mixing some Araldite with a little bit of black paint powder I had kicking around. This worked really well, now I know that I can get any other colour of this paint (cheap stuff from amazon prime) to tint whatever colour I need. This is the result once I'd filed and scraped it all back and cleaned it up with a drop of white spirit. Well pleased! So with the roaring success of the headstock logo, a shape I've inlayed 5 times now - I decided to level up.. This two-headed snake thing is taken from some Aztec art. I traced the image in illustrator and shortened it by cutting out two of the hoops so that I could fit it in parallel with the frets at the 12th. The design takes up 2 frets so I layed it out on the fretboard and cut it along the 12th fret to make 2 separate inlays. I have a 2mm piece of mop large enough to do it all in one but I figured it would be easier cutting it out of 2 pieces, easier to inlay as 2 separates and also removes the issue of having to saw through the mop at the fret slot where I've already bound the fretboard. I'm not very happy with the right hand eye, so I've since plugged it with a 2mm white mop dot and I'll redrill it once it's inlayed. My dad needed his pillar drill back so I was using a hand drill which I managed to slip with while I was drilling that hole. Also, the files I've got aren't small enough to get between the teeth so I'm inlaying the basic shape and will put in the finer details with the dremel or some sharp chisels once it's all in. Still up in the air what I'm going to do with the other fret markers but this guitar is definitely turning into a labour of love.
  5. 3 points
    Name: Delta Cloud - becaus it's a slide guitar and it has cloud inlays. build thread here: http://www.projectguitar.com/forums/topic/49382-delta-cloud-getting-close-anyway/?page=1 "The woods and materials used, especially if there is something unusual in there!" Nothing unusual. One piece "A.... frican mahogany" body, and flame maple neck were sourced locally. fretboard, headstock overlay, pickguard, and tailpiece (all gaboon) were from allenguitar.com 1/8" flamed maple top from evilbay. mop "pendant" headstock inlay pearloid fretboard markers and binding dual action truss rod tusq nut "Scale length(s) and other specific configuration details" 25" scale length, no radius, 23 frets. 1.75" wide at the nut, approx .80 thick at the 1st and .90 at the 12. Low medium fret-wire, counter-sunk bridge. set neck construction, body is fully hollow with a block under the bridge. Just over 5lbs fully assembled. "Electronics, pickups, etc." 4 x 90mm lipsticks - 4.1 Ohms. A 3 way toggle, a 6-pole-4-throw rotary, two volumes(bourns) and a grease bucket tone control with bypass via push/pull. lp/master-tone wireup with a twist - 6 different modes for the 3 way; 1) outside coils single, 2) inside coils single, 3) outside vs inside parallel, 4) bridge vs neck parallel, 5) outside vs inside series and 6) bridge vs neck series "Is this your first build, fifth or five-hundredth?" This is my first 6 string, and 2nd scratch build ever. "A bit of information on your own background as a builder helps give context to your build." I worked at a cabinet shop in high school and solid surface/laminate cabs 20 years ago. I have assembled/finished quite a few guitars before. I do a lot of diy electronics. "Was it built in the garage, at school, work or in your own shop?" I have a humble garage... thank you to my wife for parking in the driveway and my neighbors for not complaining! "A summary of the build's history. Was it built for yourself, friend/family or a client? Did you design the instrument and its specifications or was it built to spec?" I owned a 90's u2 reissue and always regretted selling it. I built this for me, to scratch my 'slide itch'. AFA design, I built a simple photoshop doc where I used fret2find (projectguitar!) and my humble photoshop skills to make my own plan. "What were the inspirations behind the instrument and why were various build aspects chosen? Any background on what makes it special?" My requirements were: 'something that would feel a lot like my old dano', but better materials, and to leave my mark on it. I also had a goal to challenge my self with more complicated inlays, set neck, angled headstock, and binding. Additionally, just wanted to say that I'm very greatful to be a part of this community! Your input directly contributed to details like how to join my 'super-thin' top, getting my finish right(somewhat), and more. Thank you so much to Andyjr1515, ScottR, Curtisa, Skyjerk, Mr Natural, Norris, Komodo, Lwguitar, Guitar Goomba, ShatnersBassoon, 2.5itim for guidance, encouragement, comiseration and/or just responding to my build posts! Video demo here:
  6. 2 points
    Hi there. Just started new project and want to share the full story here. Chatpter I. Walnut smell.
  7. 2 points
    Not sure what's going on with the forum, I see to be unable to embed photos, here goes again
  8. 2 points
    Hello Everyone, It's been a while since I posted on here. It is hard to find the time to finish some of these projects, Last year I moved into a new house and had to re setup my entire shop before finishing some of the guitars I had been working on. This one is particularly special to me as it has an inlay inspired by one of my old band logo's designs. This was my first guitar that I had done a drop top on, and it was quite a learning experience. There are some things I would do differently next time regarding that. It was also the first time I tried to do exact grain matching cover plates. Mostly techniques I learned from guys here! This is my 5th serious build, however I do not have any background in woodworking other than trying to figure out guitars. I am actually a welder/electrician by trade. Name: Titan 7 Neck: 7 strings 27" scale 12"fretboard radius Ziricote fretboard Wenge/maple/paduak neck Maple binding Luminlay side dots Graphtech nut Hipshot open back locking tuners 24 frets Paduak logo inlay Body Sapele body Quilted maple top Wenge inlaid pickup ring accents "Drop top" Grain matched cavity covers Hardware/Electronics Evertune bridge 3 way selector Coil tapping "push push" volume Bareknuckle Juggernauts I came up with a quick video just so you can see the guitar in action as well.
  9. 2 points
    And how it looks after planer.
  10. 2 points
    The “Savart-Nought” Trapezoid Guitar It takes a special kind of idiot to become intensely interested in the size and shape of violins crafted by a long-dead physicist like Felix Savart (1791-1841). Luckily, I am just that type of grinning moron. Felix was known for a bunch of stuff. He invented the “Savart” which is a unit of measurement for musical intervals. He built a device to measure the range of human hearing (Savart’s Wheel). The man seemed to be very into several things, not the least of which were acoustics, vibrating bodies, and naming stuff after himself. Which is how he came up with the trapezoidal, flat-top, Savart violin. This creation was highly regarded by all the governing violin organizations of his era (aka: snobs and purists) and the tone and timbre was pretty much indistinguishable from the classically shaped violins of the time. That was no small feat. Seriously . . . convincing a bunch of elitist fancy boys to endorse your weird instrument - no matter how well it sounds/plays - must have entailed one hell of a lot of schmoozing, stroking, and quite likely . . . bribes. Anyway . . . so I was studying Savart violins, and was about half done with making one, when my mind was struck with the sort of fuzzy inspiration most commonly brought on by excessive consumption of high-test, homemade hooch and uncooked pork. Why not a Savart resonator guitar, I thought? Why not make it big and loud, I hypothesized? Why shouldn’t I immediately create a “Savart-Nought.” The rest, as they say, is either fake news or history. I always get those two confused. The “Savart-Nought” probably sounds as good as anything I’ve ever built (or bought). The wide bottom allows for an extra soundhole at the lower left corner, which really punches up the bass response. The 9.5 inch resonator cone - inset into the 3.75-deep body - growls like either (take your pick here) A: The 1,000 horsepower Corvette Z06 B: Hillary Clinton on the night of November 8th, 2016 C: A hungry Rottweiller with an ingrown toenail and a hangover In other words, it’s sorta’ loud and a little angry. It gets lounder if you plug it in, and crank up the volume and tone controls. The internal piezo is encased in about 1,000 layers of rubber cement (much like the legendary Hattori Hanzo katana sword) which means you get very little handling noise and tons of reso goodness. Being a perpetually broke sort of backwoods luthier, I can’t afford fancy wood. Thus, the body of the Savart-Nought is constructed from red oak, Baltic Birch plywood, Luan plywood, some poplar (my homemade kerfing and the centerline neck stick), and regular old chunks of 2x4 (those form the trapezoid corner posts to which the sides are attached). I’ve included a National, 25” scale (actually I set it at 25 1/8th . . . it sounds better) and the action is lightning fast. That’s likely because, again since I’m impoverished, the fingerboard is made from poplar and sprayed with Walmart’s finest black lacquer. The body itself is stained in black cherry, and topped off with Walmart’s second finest clear lacquer. Oh . . . the neck is maple. I don’t know how the hell that happened. And . . . lest I forget . . . the cone coverplate is from a 1961 Falcon, mutilated quite artistically with my $9 Harbor Freight angle grinder, and coated on the bottom with a bit of JB Weld so it doesn’t go all floppy. I think Felix Savart would be both disgusted and impressed. I could ask for nothing more. Scale: 25" scale • 15 frets to the body Strings: 6 of ‘em Body Size: 18” at base. 8” wide at heel. 3.75” deep Total Instrument Length: Around 41" Acoustic Gizmo: 9.5" resonator biscuit cone Cone Cover: 1961 Falcon hubcap coated with silver metallic Rustoleum Tail Piece: 24-gauge steel lopped into shape with my HF angle grinder and coated with the aforementioned Rustoleum. Amplification: Internal Piezo Pickup with volume and tone controls. Inset into neck stick and encased with enough rubber cement to dampen any handling noise. Neck: Maple . . . and steel reinforced String Height at Zero Fret: 1mm String Height at 12: 4mm Neck width at zero fret: 1 3/4" Neck Width at body: 2 1/4" Weight: The Savart-Nought, being of French descent, is very vain. It thus declines to step on a scale and weigh itself.
  11. 2 points
    By the way... ...it isn't too much Christmas spirit getting into me - the neck IS parallel and the hatch IS straight (just had to check it for the 14th time to make absolutely sure). It's just the camera / viewpoint distortion...
  12. 2 points
    Kinda reminds me of the Yamaha Pacifica neck joint on the early-90s models: ...only more 'Andy-ised'. So, does the 'R' in your screen name stand for 'Rescuer...' ...of basses?
  13. 2 points
    +1 on danish oil on necks- especially if you do the last coat with fine steel wool- it leaves the neck super slick and fast- even more so than if you say sand back lacquer to a 2000 grit dulled matte sheen-that smooths out the lacquer for sure and leaves it slicker than just polished lacquer- but not fast and smooth like danish oil. and is it me or does anyone else (actually) enjoy the scent of danish oil? i still wear a mask- but at least a garage full of danish oil gas off is a 1000x better than lacquer or poly gas off.
  14. 2 points
    So you've got a blue chain link fence? SR
  15. 2 points
    Maybe we should start a chain link fence club. We could have our own CLFGOTM! Vote for me! Vote for me! Scott's is too neat - pick mine!!!!
  16. 2 points
    Before I get started, I had a small project to complete. I'm going to pass on a couple of my older builds to my niece and nephew this holiday season....just a couple of old hand-me-downs. One of them has an earlier form of my volute with no signature, so I need to correct that. Done. SR
  17. 2 points
    The design is extremely rigid, essentially a large U-beam with the leg assemblies housed and wedged in the aprons. It’s built pretty much to spec from Paul Sellers’ YouTube series on building a workbench which luckily coincided with my paternity leave. Well spotted on the vintage vice, I refurbished an old Record 52 1/2:
  18. 2 points
    I built this one for my Grandson. I asked him to give me ten words that describe the guitar he wanted, and this is what happened. Carved pine body and a totally refurbished neck I had lying around. DiMarzio Bluesbucker Pickup, wrap around bridge
  19. 2 points
    Here's my entry for what it's worth. This was my second build that I finished in the summer, called The mk2: 2 piece khaya body Book-matched flamed spalted maple top 1 piece kyaha neck Gabon ebony fretboard 9.5" - 12.5" fretboard radius Flamed maple binding and block inlays Flamed maple headstock cap Gabon ebony headstock inlay Gabon ebony truss access cover 25" scale 30 jumbo frets Gotoh locking tuners Gotoh wraparound bridge PRS HFS treble pickup PRS treble-bleed volume pot Coil splitting mini-toggle Graphtech tusq nut Finished with artist oil paints and crimson finishing oil The maple top was only 11mm thick, so I carved a shallow arch shape into the top and also carved the same shape into the back of the body, using an offcut of the top to make a carved control cavity cover. The khaya body was sold as reclaimed "reclaimed" with several deep cracks, so I tried to make a feature of them by filling with a black resin, I then used a black grain filler on the rest of the body to match. A video of me playing her (pre finish) https://www.facebook.com/ashfinlayson/videos/10157359805007316 Cheers Ash
  20. 1 point
    So I want to do a through neck on the semi hollow and it was recommended to start with my very first build doing a bolt on. I spent too many years not listening to people. I was thinking I wanted that one as just kind of a blue-collar type guitar. Just a workhorse that screams form follows function. Maybe I get a single wider piece of Swamp Ash to use as a top. Then I can still have my look and then i can chamber the thing....oh the possibilities...
  21. 1 point
    One of the things that James, the prospective owner, wanted was a strong amber stain for the neck and fretboard and also a complementing stain for the back and sides. For the fretboard, he sent me a photo of the type of shade he was looking for which I was able to match using a mix of spirit stains (Chestnut Stains light mahogany/yellow/orange, all thinned with methylated spirits) Because of the different hues of the ash (brownish) and maple (yellowish) I had to also do a few more trials to get a mix that coordinated with that colour. This is where I ended up - happily coinciding with where James was wanting to be : The 'knobs' are just loosely positioned at the moment while we discuss his preferred positioning. The 'slurry and buff' coats of tru-oil will continue over the Christmas period and then the final tasks can be tackled. I'm planning on ready to ship mid-Jan. For those who celebrate Christmas - have a great Christmas and see you the other side! Andy
  22. 1 point
    so... Happy Holidays project guitar-ites! I've really enjoyed getting to know the folks here and you've all been real nice to me - thanks for that! Hope you holiday is going well!
  23. 1 point
    Probably a good idea or even lacquer thinner, or steel wool (which I hate using because it leaves steel wool dust/fibers everywhere....sometimes it is what's best for the situation though). The thing is, the oil goes pretty far into the pores. so if you're not willing to keep sanding until you get it all, the risk of gummed wood dust and oil will always be there. SR
  24. 1 point
  25. 1 point