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Showing content with the highest reputation since 10/12/2019 in Posts

  1. 6 points
    Hello Everyone, here's my entry for the October GOTM. Name; Standard General Body wood: Sapele mahogany and flame maple Neck wood: Sapele laminated with maple veneer accent stripes Fretboard: Rosewood bound with flame maple and luminlay side dots Hardware: Evertune bridge, Hipshot locking tuners Electronics: BareKnuckle Rebel Yells with coil splitting push push tone pots Other Features: Grain matched backplates, paduak inlay at 12th fret, neck volute, wenge logo inlay This guitar is for my bandmate who is in love with Gibson SGs. However with all the inherent problems with them I decided I would build him one to the same specs as an SG, but then buff it up here and there. Somethings that make it special and a little different than your "standard" SG are upgraded hardware and electronics, a thicker body (to counterbalance the typical neck dive), an added volute so it HOPEFULLY wont break at the headstock, grain matched cavity covers and custom band inlays at the 12th. This was the first guitar I have ever built that was a) 24.75" scale and b) with any sort of neck angle. It added some challenges and I really enjoyed thinking out side the box to accomplish it precisely. This was probably the sixth or seventh guitar I have built. Thanks for looking!
  2. 5 points
    No binding, but I’m considering a thin layer of maple between the fretboard and neck. Cap is/was almost 1”. More carve done, and an angled route for the tremolo cover. I’m desperately trying to get this done to spray while I have a chance at good weather. But I’m taking my time to get it right.
  3. 5 points
    Hi For this month's GOTM competition, I proudly present the "Phoenix Dreadnought" 6-string acoustic. I've been building guitars and basses for around 6 years - largely electrics and generally for my own use of for fellow band members and occasional commissions. I am attracted by the slightly quirky and 'wonder if this could be done' projects but also by the sheer challenge of an acoustic. My first acoustic build - an OM for myself - was around 5 years ago. I then built a dreadnought for our band's vocalist's 'special' birthday. Then another dreadnought for my own use. The 'Phoenix' is my 4th acoustic build Why Phoenix? Well, the build itself started with a discarded neck blank - a former bass project where I made a miscalculation and cut it the wrong length. A new neck was made and the bass completed...but I was left with this less about 6 inches: Me clearing out some old offcuts, including the short version of above, coincided with an offer by Matt - an excellent pro-player I know and who was planning to do some self-promotion videos - to use some of my own basses and guitars in his videos. He wouldn't take anything towards the cost of videos, so how could I offer a 'thank you'? Hmmm...well, he's an excellent acoustic player and he likes the acoustic among the borrowed instruments. So, could a blank like that above, be turned into a blank like this below??: And thus the Phoenix rose from the ashes.... Spec is: - 25.5" Scale; 19" Fretboard radius - European spruce top; black limba back and sides; ebony fretboard; walnut rosette/tailpiece/headstock plate - Full size square-shouldered dreadnought - Two pickup systems with individual outputs: LR Baggs Anthem (piezo & condenser mic); K&K Pure Mini (saddle-plate transducers) It took around 4 months to build and finish. The full build diary is here And here's the finished guitar: Happily, Matt loves it (always a great relief when I build anything for other people). Here is a quick clip taken on my phone on the day I passed it over to him: Thanks for looking! Andy
  4. 5 points
    Got the front about semigloss. I may keep it there. If not I'll hit it with the buffing wheel in a month. Still quite a few touch ups around the pickguard, controls, and a corner. Still working on the back as well.
  5. 4 points
    Hey guys, First of all, thanks for all the help. Great to have a community that are generous as they are with their knowledge and experience. Its been a tremendous help. Here's my 2nd build: Osprey Wood: Genuine mahogany make up the wings. Wenge control cover. The neck is mahogany, wenge, and maple. The fingerboard and head stock plate are macassar ebony. The pick guard is ebony and zebrawood. Inlay: The inlay in the pick guard is gold mother of pearl. The fretboard is gold, black, white mother of pearl, and bloody basin jasper. General: 25.5 scale, 22 fret, Neck-through, Stainless steel frets, Gotoh Tuners, Signum wraparound bridge (love this bridge), Nitro finish Electronics: PTB tone setup. Bass and Treble tone knobs. Also has a 6 position freeway switch that have full humbucker in the left positions and split in the right. The pickups are Oil City, Blackbird humbuckers which are a medium-high output. They have great dynamic response with volume control. Been a really fun build. Everything was done by hand which partly why it took so long to build. Here she is:
  6. 3 points
    After a few months of procrastination and worrying that the lacquer might change colour or crack. I've finally wired her up. New mahogany body, Croatian maple cap and rejig of switch/pot positions. It's a done deal. Didn't enjoying going over old work, but really enjoyed the finishing process. To be collected on Sunday
  7. 2 points
    Major disaster, or hopefully not! As you can see, I finally thought the finish is good enough to add hardware. Despite having carefully measured the diameter of the plugs - I even had to buy a set of drill bits from 1 to 13 mm with a 0.5 mm increment for the right size! - the plugs required more banging than I expected. At night I thought I'd apply yet another very light coat of oil and noticed long cracks on the top! On the bass side there's a ridge to be felt between the pickups along the transition line of hollow and neck. There's also an inch long cracks around both studs, following the grain. I guess the best option would be to pull the plugs off and ream the holes a tad wider towards the centerline as the bridge sits a tad wide - again despite it seemed to fit perfectly fine when I drilled the holes! The saddle worked a tad better. I'm planning to make a new truss rod cover since I forgot that I already had magnets for it! The screws just don't look right there. There's also a missing piece in the pinstripe so that will get fixed as well. I have a nice leftover block thick enough to make half a dozen similar covers if needed. -Oh, and leveling the frets was a no-hassle, for once.
  8. 2 points
    Just some pics of the finished guitar. Really enjoy playing this one. Really rich pickups.
  9. 2 points
    some updates a lot of things was made and a lot of sand ahead!
  10. 2 points
    I’ve been contemplating the finish (again), and have gone back and forth on dying the maple edge or leaving it blonde to go with the ash. The top will be dyed black/purple, light burst. Kinda like this one: Problem is, I don’t know how to do it. I’ve been doing tests, not really close. My guess is that guitar is straight black, sanded back, but when I do it it’s flat and blotchy. Then it looks like either a light trans purple wash or sprayed, and then black burst sprayed. I don’t have an airbrush, so dyes would be sprayed with my gun or maybe tint some nitro?
  11. 2 points
    Hey a bit of progress lately. I glued the back on Then trimmed it with a nasty machine Then used another nasty machine After sanding round the edges I wasn't happy with the result... So I made yet another Template so I could router the back And finally smoothing out the dips and bumps Then onto the other end using some High-Tech graphic design tools And now shh THE SECRET NUMBERS! I made this Fret Scale ruler with an angled edge to help transfer the line to the Fretboard, don't know if you can see it Now just check with the R9 and it was spot on. I know I should use A STEEL RULER but they're just so hard to read from! And on with the job Now with the slots cut I have a dilemma, should I Radius then bind or bind then Radius? If the slots end up being too shallow afterward I will be in big trouble. I cut down to this line which seems rather deep but after doing the Radius its surprising how much comes off. I think I should Radius then bind, any opinions or thoughts?
  12. 2 points
    And the saga continues... Today after a two week hiatus I decided to sand the entire instrument! I was pretty happy with the ovangkol top but the alder body looked somewhat dirty to me, not to mention that the parts I had sanded around the cutout seemed to be shinier than the rest. So I loaded the random orbital with 800 grit Abranet and spent some time making noise. Actually starting with 600 might have been an even better choice, but it's too late now. Then I took my sanding block and a round of 3M Hookit P1200 followed by 3000 grit 3M Trizact which I used wet. There was some corners that were sanded to bare wood or at least close. All inconsistency disappeared when I applied a layer of Crimson Penetrating Guitar Finishing oil. Lesson learned: Next time I'll sand the guitar to some 400 before oiling and after a couple of layers I'll sand it down to the filled pore level starting with 600 and going up to at least 1200. The oiled surface won't raise any grain and the surface becomes much smoother for subsequent layers. I also managed to do a partial wiring harness. The top really started to shine! The bottom less so but still nicer than it was.
  13. 2 points
  14. 1 point
  15. 1 point
    Hi I visit the forum a LOT. But, to my shame, I tend to go straight to the 'Members Builds' section rather than the 'Tech Area' section. This is a wonderful build and very, very well illustrated. And as for 'unorthodox methods' - well, that's my middle name Apols for not finding this earlier but I'm very pleased I've found it now!
  16. 1 point
    Hi and welcome! To answer your specific question, you would be best not to coat the fretboard with off-the-shelf polyurethane. Even assuming it is a brand that fully dries (and some of them don't) the shine will tend to drag on your playing fingers. I think the only regularly seen varnished fretboards are probably the Fender maple ones and I suspect they use industrial accelerated UV curing or some such technology. You can - of course - stain the board before you oil, if it is a colour shade you are after on the fretboard. In that case I would recommend a proper spirit woodstain rather than a coloured polyurethane finish. Bear in mind that the wood itself will affect the colour so a bit of experimentation might be needed. As for the lead. Hmmmm. I'm all for experimentation (many of my own builds have been in the 'unconventional' categories) but a 25lb weight?? Put on a fixed stand to do some sound comparisons, maybe (my wager is that it won't make any audible difference). As for a playable instrument, my personal view is, well, forget it But I would never stand in the way of a 'why not?' attitude so will watch with interest Andy
  17. 1 point
    Beautiful work of art. It makes me want to play guitar, build guitars....and I kind of want to eat it...having a strange craving for seafood all of a sudden
  18. 1 point
    I was thinking about that as well. In my thinking that's true if the pieces are sort of bookmatched. But if the pieces slide so that they're not symmetrical any more? Would that cause a twist? My logic says yes but I may be wrong, or the twist may be too minor to affect stability.
  19. 1 point
    Thanks guys. That's really inspiring to hear Bizman. I spent a long time going back and forth on this design so it's awesome to hear you like the design specifically. Scott, I was sweating bullets after the finish process because it was just glowing red. I was really close to just hitting it with primer and going black. Luckily, I think the air dulled that glow to something less radioactive looking. It seems the finish really helped a lot too after it settled for a month. My eye isn't quite trained to that i guess. Oh and the pickups are pretty awesome. The standout is the neck for pickup for sure. Probably the fullest pickup I've heard. I'm going to try some kleins on the next one.
  20. 1 point
    There's several ways to address that. Lighter fluid has been used Dedicated fretboard Lemon oils are basically lighter fluid with some mineral oil and scent Crimson Guitars make a more gentle cleaner fluid Water and soap can make wonders! Just don't soak the wood, wring your rag properly before attacking the gunk. Dishwasher soap is fine as it can remove grease but if you're worried about residue use Marseille soap as it's basically a conditioner as well. A single edge razor blade used as a scraper is also a good tool for unlacquered fretboards. Scrape from the fret towards the center of the space in between being cautious not to scratch the frets. When you've cleaned the fretboard, run the very corner of the blade along each fret side to clean right at the seam. Note that each of the methods also remove the moisturizing oil from the fretboard. After cleaning apply some good restorative oil - boiled linseed oil is fine, vegetable oils may go rancid. Apply plenty, let soak for a while and wipe it all off with a dry paper. Wait for five minutes and wipe again what's sweated from the pores. Don't throw the oily papers in the bin as they may ignite by themselves!
  21. 1 point
  22. 1 point
  23. 1 point
    Wow! That could have been the intro for some Celtic fairy mythology movie, the sense of magic and storytelling was strongly present!
  24. 1 point
    I can't help it: With black there's always those minor grain lines that look dirty. It's not you, it's all of them. However, since I've seen some that don't have that "feature" it may be avoided. The question is "how?". I'm by no means an expert in staining, there's people who really have dug into it. My knowledge is more on the theory and a good memory regarding the videos I've seen. One thing that might help is a more proper sanding. That's what I've been trying to master but my eyesight isn't what it used to be so I always find some rougher spots during the finishing process. I should get spectacles similar to @Norris! Anyhow, you know the procedure: Sand with a light hand through the grits up to 320, moist the surface to raise the grain, sand lightly. Moist again, let dry and sand lightly. Rinse and repeat several times. Don't press since that will only press the grain into the wood instead of cutting it. They say that 400 is the highest grit to be used in order to make the finish stick. I must partially disagree. Using 800 grit Mirka Abranet mesh still leaves a sanded feel rather than a burnished surface - the latter may not take any dye, oil or lacquer since the wood grains are fully closed and polished. The trick is to use a minimal amount of very light passes with the highest grits. It's like maintaining a golf lawn with nail scissors!
  25. 1 point
    Seeing her in the uppermost images makes me wonder what she would have looked like there if the original colour scheme was used... And I can't but admire your designing skills, both the shape and the choice of woods for the stripes carry the heritage of previous beloved instruments rather improving than copying them. If I saw her hanging on the wall of a guitar shop, she would be my choice over all fancy LP's, Strats and Tele's!
  26. 1 point
    Closer. Just flooded with denatured alcohol, then wipes of black and hint of purple. This scrap was from a way better piece of quilt than what the guitar is.
  27. 1 point
  28. 1 point
    Rather the curved edge, the two orange stripes shine so it almost hurts my poor eyes.
  29. 1 point
    acoustic bridge and semihollow... right on. Did not realize the pickukps were acoustic flavor - interesting. thanks for the answers.
  30. 1 point
    She's hot! The proportions are just mouthwatering! What I miss are images from the bottom before gluing the top on: Just how hollow is she? Is the top carved from the underside? Thickness of the sides? Etc.
  31. 1 point
    well, if anyone can fix that I trust it would be you. looks very nice. Just noticed how the upper horn bents up... that's a nice detail. Rock on!
  32. 1 point
    Yes on the strat wire-up. Unfortunately the chances are not good on the audio demo. I don't have the capability, and my buddy that has a studio in his house and used to make them for me now has a female type person in the house. Studio space is mysteriously turning back into living space. I'm kind of dying to hear it myself. SR
  33. 1 point
    You know, there is some galactic imagery in that burl... SR
  34. 1 point
    Auditions for strings are being held as we speak. Hoping there will be a clear front-runner by this weekend. SR
  35. 1 point
  36. 1 point
    Ta, that is Macassar ebony, often just listed as figured ebony on ebay etc, It's the hardest variety of ebony I've used so makes for a great feeling fretboard, pain in the arse to slot and inlay though!
  37. 1 point
    looking good bruther. esp like whatever-the-hell is going on with that fretboard grain (the two blonde streaks on the bass fretboard). Good choice in wood that.
  38. 1 point
    Oh that fretboard looks nice! Both of them! I'm right jealous of your drum sander. SR
  39. 1 point
    @Bizman62 @mistermikev Awesome thanks guys. I think I'm close enough now. The whole guitar just looked very short - might be because the body sits very low on the neck with a long horn. It's my first time building this type of "metal" guitar shape, so everything looks weird.
  40. 1 point
  41. 1 point
    I bet he did that because he could say "cut loose like a deuce" without giggling (I know I cant) ;). but that guitar... nothing to giggle at there... def an ace. (totally unrelated to the post below mine and not an edit... but officially would like to petition the courts to change your user name to "GreatScott")
  42. 1 point
    Artstic licence. Sometimes misconstrued for a poor memory and being to lazy to look it up. SR
  43. 1 point
    Okay. I think that I'll raise this as a support ticket as I can't find a fault in settings.
  44. 1 point
    You've got it in one! That's exactly how I felt ;)
  45. 1 point
    During my wakeup process I thought about this a little more. That's exactly how it is! If you set the guitar laying on her back so the strings are perfectly horizontal, the neck is slanted towards the body. That's very subtle but there's a chicken ladder from the body to the nut. Another thought I got was about the logic of having the zero fret as low as the rest. Basically that's what happens with a capo, a barre and even with every single fretted note. So what's the difference? First, when you push a string against a fret there's a steeper angle than that of the neck break. That will raise the string somewhat at the fret exit as the string doesn't bend sharply. Also, the higher the fret the more angle there is towards the bridge. Remember, we're talking about fractions of a millimetre here! Yet another thing to consider is the muting effect on the tuner side of the string caused by the palm/finger/capo. An open string vibrates also between the nut and the tuner, a fingered string gets dampened by the softer flesh or plastic. Finally, if the zero fret should be of equal height with the rest, why is there an elevated bridge in fretless instruments? Shouldn't a string guide at the end of the fretboard suffice? Caution! My posts are just logical thinking without any stone carved facts behind them. Have some salt at hand.
  46. 1 point
    With that logic the nut slots should be level with the frets... I can understand that statement to a degree but the mechanics haven't been thoroughly thought over. Alongside of guiding the strings the nut is a device for adjusting the gap between the frets and the strings. A zero fret takes the role of height adjusting, leaving the nut slots only for keeping the spacing between strings equal. As you may know about setting the string height and action, you'd start by straightening the neck and continue by leveling the frets. After that you'd file the nut slots to a desired height for a smooth action in the lower frets area. Over the first fret you should have approximately 0.6 mm in average, some 0.15 mm more on the bass side and the same amount less on the treble side. When you get that right, adjust the bridge so that the distance between the 12th fret and the strings is appr. 2 mm. Then release the truss rod just a tad so that the 12th fret gap is about 2.5 mm. That should give you a medium action all the way through the neck. Some prefer it lower, some higher You can have the zero fret the same height as the rest. That would require a lot of relief on the neck and a high bridge to prevent buzzing. Setting the action is much easier when you add that 0.5 mm to the nut or zero fret.
  47. 1 point
    Outstanding Andy! I really enjoyed Matt's playing too. You surely ought to be chuffed. SR
  48. 1 point
    I passed this across to Matt this afternoon. I'm pleased and relieved to say that he is very, very pleased with it He will doing a proper recording at some stage of it, but this was a quick couple of mobile-phone clips I did of him playing it 'straight out of the box' : https://youtu.be/-Bckzvnup7I https://youtu.be/4qQ9iHK22IE I'm well chuffed
  49. 1 point
  50. 1 point
    Progress made, time for an update! First time trying a fret job with blind fret slots: Before I could finish fretting the board, there was a small mistake to fix... While shaping the headstock, I had a slip-up with the chisel and cut into the side of the fretboard at the first fret. I cut a matching shaving from some left-over rosewood binding and glued into place: Time to get started on the pickup cavity. The corners were drilled to achieve radii, and knife walls were established tangentially to the holes for chopping: The method I used for cutting the recess was: 1. Chop along knife wall 2.Cut towards wall at and angle, creating a bevel 3.Repeat 1&2 a few times, going down a couple of mm in total. 4.Remove material with router plane, going down gradually until bottom is flush. 5.Repeat 1-4 until depth is achieved. Someone with more chisel experience (not trying this for the first time) would probably have a much faster method of removing material. However, the results were satisfying (holes could have been straighter). Bridge holes have also been drilled. Final scheme for the guitar will be oiled wood, with black/brass hardware. First mockup shots:
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