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Showing content with the highest reputation since 11/06/2011 in Posts

  1. 10 points
    Alright, finally finished this build! Here she is: Slight scallop in the higher frets, not too deep, doesn't go all the way across to the bass side, just where I need it for bends and such. Super happy with the way these logos came out, first time I've ever had a proper set made. Glad I went with metal too. This was extremely fun to design and build, and was a big step forward for me in the technique department. This is also the best fretwork I've managed to pull off to date, and it plays better than anything I've built before. I'll do a little demo of it soon. Thanks for all the encouragement everyone!
  2. 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.
  3. 10 points
    The instruments we make tell a story. The materials we use, the designs we come up with, the music we imagine our new instrument playing, and even the reason we decided to make the instrument are all elements of the story. I think this is one of the big differences between mass-produced instruments and hand-crafted custom instruments. The first are made for a market, the second are made to tell a story. Reading each of the different build threads going on here with so many different ideas coming to life tells us something about the builder. Even if we aren’t aware of it, the decisions we make in our build are driven by who we are and the story we are trying to tell. I think @mattharris75’s beautiful April 2016 GOTM winner illustrates this well – it’s a fantastic instrument on it’s own, but when you know the story behind, you understand the instrument in a whole new way. When I started making this bass, I didn’t know what story I was telling. I just knew I wanted to build a 5 string bass for myself. I wanted a versatile bass that could produce many different sounds for many different styles of music. I wanted to feature some nice natural materials – pretty, but not precious. And I wanted to pull in some elements of the world I’m seeing here in Japan (without, hopefully, being cheezy). The story of this bass is my story – it’s a snapshot of me right now. It’s autobiographical. Some things are completely obvious – made in Japan by an American, the koi inlay, etc. But the core is a subtler view driven by both the kind of player I want to be and where I’m at in my life. This bass is diverse, flexible, adaptable – all things I strive to be. It’s not that I don’t know who I am, but who I am is someone who wants to be many things. I played my first gig with the new bass last weekend. The gig was with a blues band literally on the banks of Mt. Fuji. I think that first gig – rocking out to one of the great American music forms while the sun set behind Japan’s most recognized icon - is a fitting end to this build thread. My wife reminded me during some of the more challenging parts of this build that “it’s not done until I say it’s done”. Finishing a build isn’t just checking off the last item in a checklist. It’s not even playing the first gig with an instrument. An instrument is finished when story the instrument tells is complete. And I’m happy to say that this build is complete. Here's a photo I snapped a few minute before we started playing: Now with that out of the way, there are a few other loose ends to wrap up about this build. First, I’m really happy with how the bass plays and am having a ton of fun making music with it. My G&L feels like a dog compared to it. That said, there are a few rough spots that I continually see. I don’t think anybody else will ever notice them, but they I can’t help but see them. Oh well… Those of you that followed closely may remember that I talked some talk about a mystery solution to resolve tear out. The plan was to create and inlay a traditional landscape scene (silhouette of Fuji and Torii gate) over the area of the tear out. I started it but never put it in place. It both ended up feeling too “precious” and amateur for what I wanted. But it did inspire the koi, which has ended up being the most distinctive and eye catching feature of the bass. So we can give the tear-out credit for leading me to the koi inlay. I saw a PRS Dragon for sale in Tokyo yesterday for $29,000 – it was certainly beautiful and clearly the dragon inlay (and not some playability or tone) is what makes it ‘special’. I was surprised to find leveling and finishing the frets to be one of the most rewarding steps in the process. It was certainly tedious, but there was something magic about seeing it all come together with just some very tiny adjustments. I sprung for a nice leveling beam and there’s definitely something inherently satisfying about using a quality purpose-built tool to complete a task. Finally, thank you all who have followed along, liked a post, made a comment, and answered a question in this thread. And a special thanks to @Prostheta, @curtisa and @ScottR for the continual feedback, insight, and support. This website is awesome. Now, on to build #2! Here's a blurry shot of the bass's debut performance at the Fuji Roadhouse, and once of it resting after the gig.
  4. 10 points
    Hey everyone, I'm finally back at home after this weekend's event Everyone involved had a great time and the auction went very well! I just realized I never showed pics of the entire package up for auction. The guitar was bundled with a Gator vintage brown case and Couch Cadillac brownburst strap. The cool thing about this strap? It's made from original vinyl used on 70's Cadillac roofs. The event was held on a gorgeous property out in Jupiter, FL. The weather was amazing, it couldn't have been a better setup. So here's my little table. And after the auction, one of the bands wanted to try the guitar, so of course I let him have a go. He loved it! I must say, I'm impressed with the versatility of this pickup set. From the cleans and high-gain stuff Anthony did in my previous clip to this guy's country-style setup, the DiMarzios really handled everything well. Oh! By the way.... the guitar ended up raising $3500 for the foundation
  5. 9 points
    So late last year I started in on a new model based around a Super Strat that I ultimately named the Helix. I wanted to incorporate some things I like in a guitar such as a super thin neck profile, a deeper cutaway, magnetic truss covers and a thinner body and a few other minor things. When I started building the first Helix I broke out the video equipment and documented the entire process. To anyone who's done it you know shooting a build by yourself is a time consuming task. Stopping at each step of the build process to set up a camera slows down the build process considerably. On some tasks it would take me longer to set up the camera than it would to actually complete the task at hand. Over the eight weeks or so it took to complete the build I shot something in the neighborhood of 40 hrs worth of footage. The build was completed late last year but the footage has been sitting untouched on my hard drive for months. With 40 plus hours of footage it was a time consuming task just to roll through and view all the footage I shot just once to see what I had, let alone organize it all and edit it all down to a point to where its viewable. Anyways, after many hours of shooting, months of procrastination and many tedious nights in front of a computer I finally have the first installment complete. Now that I'm at the editing stage I plan on releasing a new installment each week until the series is complete. So with that being said I give you the first 6 min installment of my Helix build series. Part one. ~JW
  6. 9 points
  7. 9 points
    True!... a sharp gouge is just fun. I've been carving the heel, that was a quick job. I will try to make kinda volute in the heel... Still needs some refining, but the big part is done. Sorry for the square neck profile, I need to clear out the surroundings before proceed with the neck carving. Have a nice weekend!
  8. 8 points
    Hi I present to you "SwiftGuitar", sometimes shortened to SG It's an 'in the style of' Gibson's iconic classic but with a few tweaks along the way. I've been building guitars and basses as a hobby for around 7 years: sometimes for my own use; sometimes for friends or fellow band members; once for a Nepalese buddhist who played in heavy metal band; occasionally commissions This one is for a friend, Matt, and has used mainly wood that I had accumulated over the years and pickups that Matt himself has wound or modified. Spec is: Timbers: Top -Yew; Back -Sapele; Neck - Mahogany & Purpleheart; Fretboard - Ebony; Inlays - Mother of Pearl Scale: 24.75" Fretwire: Jescar Evo Gold Finish: Body - Ronseal Hardglaze Polyurethane Varnish (brushed on); Neck - Danish oil slurry-and-buffed Weight: 8lb 6oz There is a (long) blow by blow build thread (link below) for anyone in Covid lockdown and who's finally run out of things to do : And here it is: My hands are shot for playing but before the comp closes, I'll see if I can find a way of getting some sound clips without contravening the lockdown rules Thanks for looking!
  9. 8 points
    The last couple of days have been about the final knockings - final shaping and refinishing of the neck, set-up and strap buttons I had built a couple of tweaks to help the balance but the main one - fitting Axesrus' (a decent UK supplier) wonderful lightweight aluminium tuners - was dashed because of (presumably Covid-related) non-availability. Instead, I have fitted some really, really nice open gear Hipshots - but, honestly, they are quite a bit heavier than the Axesrus ones. But when Matt tried it out. I watched how he played and we discussed that yes - he does want to get to that 24th fret..and with his thumb wrapped round and so the back button wanted to be in the 'traditional' place if at all possible. But what I do (with all of my builds) is first fit the back button, then pop a slippy strap on it, over my shoulder and, holding the strap in various positions while supporting the guitar, gauge where the balance was going to be. And it looked like we could get there. So on went the back button (and nowhere near the 'goldilocks' zone of 12th -13th fret I always recommend!): ...and then popped a slippy strap on and hands off... So, whatever position Matt likes to play, it should be absolutely fine Final bit of polishing up tomorrow and it's ready to go to Matt. So one last glance before it goes into the gig bag: Yup - that'll do And as always, many thanks for the kind words and great encouragement along the way - always very much appreciated
  10. 8 points
    Back to hanging like a side of beef. SR
  11. 8 points
    I had to use some lacquer thinner and a razor blade to get the double sided tale adhesive off. As long as the grain is jumping, I might as well take some glamour shots. SR
  12. 8 points
    HI Guys, I would present my 1st build (after my 2nd which was a Thunderbird bass from January). Guitar name is: LP-1. This is my single cut, Les Paul, whatever you want to call it. I didn't spend significant time on the design, the goal was apply a standard sunburst technic. I really wanted to make a vintage look with brown and amber colors and definitely not a relic design. It was much more done by my instincts than done by experience but frankly I could really surprise myself with the finish. I used Crimson stains and closed it with high build guitar oils which applied only one time for matte finish. The body is simple basswood, the neck is maple and the fretboard is rosewood. The hardware is pretty standard chrome stuffs, the plastics are cream and gold. Because I like trash metal so much I chose EMG 81/85 active humbuckers for heavy sounds - and it sounds like a HELL! I hope you like it because I LOVE to play on it. Regards, Ratesz
  13. 8 points
    The Pimp Hi y’all! Wanted to do a thematic build so I imagined a guitar with pimp aesthetics. purple velvet jacket, gold bling, raw p90 sound etc 2 piece Korina body sealed with shellac and painted in ultra thin-skin nitro. Halon gold hardware trem and bridge (you gotta try these! Best quality! World - class alloys and tone!) Nick Silver blue moonlight pickups alnico II 50s style p90s gotoh vintage gold tuners ebony fretboard 16” radius tortoise shell pickguard real mop inlays 4-ply laminated neck flame maple with walnut. home-made decal layered angled headstock (9 degrees) loved the tone! You can rock out with it, play the blues and surf for dayzz! enjoy!! https://youtu.be/7o0ZYNWLxZE
  14. 8 points
    Using the body as a pattern, I marked out the top. And then cut it out. And like its big brother it need to trim down a bit. I may have said I wasn't going to do that again..... but I guess I thought I needed a couple of hours of exercise. I put some water on the side I'm using to better see what was inside and to remind myself that the two hours of exercise was not wasted. SR
  15. 8 points
    Definitely! I’ve tried it before using just tape, and since the dye is so viscous there’s always bleed and it’s really hard to get clean lines after that - even razor scraping leaves a sort of soft edge when I’ve tried it. Thanks! Definitely the most risky I’ve been with edges/sharpness, and it’s been fun to try something new. I’ve decided to name this guitar The Hatchet due to its sharp edges Alright, finally got to my favorite part of the build process today: color! The body came out plenty dark so the neck can stay as is. I was planing on screws for the cavity cover but had some magnets left over from a previous build and decided to use those. Base coat of blue, and a little truss rod cover I cut from some some scrap rosewood and colored with the same black stain as the fingerboard. First coat sanded back. Second coat with a lot more green mixed in. Second coat sanded back. Final coat leaning a bit back towards blue. I absolutely love the dying process, it’s easily my favorite part of the build; something about the magical transition from “guitar shaped hunk of wood” to “hey this is turning into an actual instrument” just does it for me. The color tests didn’t have me convinced I would get a rich enough color, but this looks great to me, and it will only get deeper once I put some lacquer over top. Despite wiping after each coat of stain, some color did build up on the binding, but I’m fairly certain I’ll be able to scrape it off before my first coat of clear as it’s floating on top of that sealing lacquer I put on yesterday. Once I get a couple coats of lacquer on both pieces I’ll glue up the neck, as I figure this will let me take off excess glue by just scraping down to the lacquer, that way I don’t have to risk scraping any of the color out when I clean up the joint. Definitely going to mask off the glue-contact areas to leave them raw though. I also won’t drill the bridge until I have the neck glued, as I don’t trust any measuring/marking I do to locate the studs until that neck is actually in there. Got some bad memories of uh, certain... adjustments... I had to make with previous builds.
  16. 8 points
    I sure hope so! Not certain, just a picture I figured would go with my username. Get it? Lumberjack...? Axes....? But also, guitar axes.......? I’ll show myself out. Major pic dump from a long day in the garage: Body trued up to 80 grit, controls drilled. Control cavity roughly routed, and a shot of my “method” for cavity cover fitting; I’m not a big template guy (although I know I should be) and cut almost everything free hand, including routes. Pressing aluminum foil over the cavity gives me my shape, as every cavity I cut is unique to the controls and layout I decide on, which changes for most every build. Cover cut And fit Neck cut and trued up Side dots drilled Gluing up the MOP dots. Fretboard radiused to 1000 grit Frets cut and tangs ground off. Stainless steel is a bear to work but I’ve become somewhat addicted to the feel for bends/vibrato, and have found cutting the frets and grinding the tangs to be easiest with a dremel metal cutting wheel with the fret locked in a vice. Let me know if anyone’s got an easier way, I used to try nipping them but wore through tools pretty quickly that way. Sealed the binding with a spritz of lacquer as I’m fairly certain I’ll be darkening the fretboard with Stewmac stain and didn’t want it bleeding into the maple. Frets pressed Current status after a full day of work.
  17. 8 points
    @Prostheta Wow you lost me on that one! Well I painstaking scraped the pinstripe purfling to reveal the maple stripe better and it was worth it. Just enough to make it pop more. Peeling my pinstriping tape away revealed that it did a good job, but still had seepage in several places. Unfortunately it was swamp ash and not maple and it sinks in deeper as the wood is so soft and porous. There were also a couple spots on the sides that looked like the dye splattered but it was completely covered so Im baffled as to how it would get there. Weather is raining and cold. but I opened the garage door, turned off the heater and sprayed a few light coats of vinyl sealer to get it locked in. You can see how the ebony tail block really stands out now. Once its oiled (or even dyed and oiled), it’ll blend. I’ve got some voids to fill, a couple annoying gaps in the purfling, etc. Stuff that screams at me right now, will recede later.
  18. 8 points
    Hello! Hope my post is correct... I just finished a Semi-Hollow Baritone guitar! Got a lot of problem while doing this one, but this guitar is so resonant in the end and has a wonderful tone (will try to make a video soon). Here is the spec: SEL Baritone 28 -Figured yellow birch back and side. -Figured cherry laminated top (cherry-poplar-cherry) -Maple center block -Black walnut binding -C shape Figured mahogany set neck, long tenon (go under the neck pickup but in the end make not much difference with well made shorter tenon) -Marble Wood fingerboard (12' radius) -1" 11/16 (42,8mm) bone nut -28" scale length -Crushed Pearl Inlay with Epoxy -Medium fret wire -CTS concentric volume pot... I really like it, so much I'll do it on other guitars! It's very convenient! -CTS master tone pot -Jess Loureiro hand wound pickups (made in Spain). The neck pickup is a Wide Range humbucker in regular humbucker size. The bridge pickup is more like a regular PAF. This mix is awesome to my taste! -Marble Wood pickup ring. -3 positions switchcraft selector. -WaterBased finish over Shellac over blue tint. I really do not like this finish, I'll try another product on the next guitar. Was really good until I buff it up! You can check some more pic on Baritone Guitar and even some of the making. I really love this guitar!
  19. 8 points
    day 6 and 7!!! fretboard sloting table jig,
  20. 8 points
    I had posted this with a bunch of other guitars in an earlier thread, but wanted to split this out on its own. Not a typical 335 as the body and sides are I piece of Black Korina, took a while to hog it all out. The back is carved the same as the top and I put the toggle switch on the top horn. neck is flame maple with a cocobolo fretboard and headstock veneer. Top is a rescued piece of "ambrosia" quilt, had a couple of cracks I had to stabilize, but had awesome natural colour. yesterday was finally nice enough to paint, and I kind of went with the seat of my pants with the colors....
  21. 8 points
    Here's my polishing kit: micro mesh and an automotive buffer. SR
  22. 8 points
    YOU GUYS. IT'S IN MY APARTMENT. And now for the good(?) part: I made a little video!
  23. 7 points
    Hey guys n’ gals, the wood all came in for my next build so I figured I’d get this thread started! This will be a 7-string multiscale guitar, and will have a very similar design to my most recent build. However, this guitar’s theme will be the blood moon, and as such it will feature colors, inlays, and other design elements to suit. Projected specs: - Quilted maple top and headstock cap, natural quilted maple “binding” - Ribbon mahogany body - Roasted single-piece curly maple set neck with 2x carbon fiber rods - 25.5”-26.25” multiscale with perpendicular fret at 8 or so, 24 stainless steel frets, slight upper fretboard scallop - Undecided on fretboard wood, either quilted maple or ebony - Locking Sperzel tuners - Hipshot multiscale fixed bridge - Bareknuckle Juggernaut humbuckers - Some lunar-themed inlays in the fretboard and elsewhere. Pics of the wood: Really looking forward to this one, and should be able to get to work on it soon. Cheers!
  24. 7 points
    Ah go on, I'll give you a sneak preview of a photo taken on my phone. The SLR shots will follow later
  25. 7 points
    This is my first time I post on this site. I play for 45 years synthesizers and the last 2 years a little electric guitar . So I am a real DIY builder of many things, I designed an electric guitar with a possibility to link it to synthesizers with more opportunities to play the guitar and synths independently of one another. On the web I discovered the Acpad, which seems to be something unknown. It was a kickstarter project of Robin Sukroso The Acpad was designed for an acoustic guiter. Iwanted the Acpad on an electric guitar, but that was not possible. So I had myself an electric guitar design to get it appropriate to. Here the result: The body is oak and coated with carbon. The neck is of an old Epiphone, Maple neck and Rosewood fingerboard. Two unknow Humbuckers, but sounds great, with a good sustain. I hope you like it. Kindly regards from the Netherlands. Dutch-Riny
  26. 7 points
    Got a little demo recorded this afternoon. Cheers!
  27. 7 points
    So far so good! I tried staining it black and it reacted with the wood and turned it purple...so sanded it back and experimented with different colours. Black to highlight the grain, then some yellow and some brown. I’m liking this effect. Turned out that the bridge was too wide for the neck, so to cut a long story short I modified it and it is now a hardtail. The plus side of this is that it saved quite a bit of weight, that brass block was heavy! Some modifying of the scratch plate is now needed, so that it folllows the curves better.
  28. 7 points
    1957 Futura build I've been building for about 7 years now. It's a hobby I started with my dad where we built a couple of guitars together at his work shop. Since then I have been adding to my own workshop over the years. I have been pulled towards the "golden era" of electric guitars. The late 50's and through the 60's. I started with almost no wood working experience but I have a background in CAD and computers. Here is the link to the build thread here - 1957 Futura build Here is how the guitar looked when finished. It was my first attempt at a vintage nitro cellulose vintage finish, complete with finish checking. Regards Peter.
  29. 7 points
    I got a couple of things partially done this weekend....nothing especially picture worthy. I got frets in and the ends beveled, but I have not leveled or dressed the frets yet. I realize that I change the fret end dressing constantly while carving and sanding the neck. I decided to carve and sand the neck first and then level and dress the frets. So the neck is carved and roughly sanded. It still have a fair number of tweaks left before I'm completely happy with the shape and feel. SR
  30. 7 points
    That’s her finished!!! Well, almost. Needs action set and intonated but she plays good. I’m so happy, came out much better than I could have hoped. love the colour, the flames, the pickups. will get intonated tomorrow and might even get a wee video up. I put the strap lock on the rear of the upper horn this time. I’m almost regretting that as the body is so small the strap has to almost pull around my body,m. Time will tell and a thinner strap might help as well. Updated post so that pictures are rotated the correct way!
  31. 7 points
    Time for a wee break from proceedings. The lack of a headstock means any logo I apply needs to go elsewhere on the instrument. The common spot for these headless instruments appears to be just above the neck near the neck pickup and bass-side cutaway. I've seen seen this done as plain engraving (Strandberg) and a decal (Kiesel, Steinberger). I'm going to match this location for the logo, but but I'm going to go for something a bit more wanky in presentation and do some V-carving. First, some volunteers from the audience. Here's some dark Blackwood and Eucalyptus from the offcuts bin to experiment with a bit: Step 1 is to engrave the design into the Eucalyptus using a vee bit. It's important that a tapered bit of some kind is used for this operation: In the Blackwood the mirror image of the design is embossed into the surface with the same vee bit, giving a kind of paper stamp effect. The vee bit ensures that the peaks of the embossing remain crisp and sharp. Each corner of the letters' stroke has a prismatic effect: After separating the Blackwood mirror from the block the two pieces can be married up: After a few hours glued up in clamps the excess Blackwood can be planed and sanded down: Because of the use of prismatic carving, much finer detail can be obtained than by inlaying into channels with vertical sides. With regular engraving the finest detail you can do is limited by the radius of the smallest cutter you have on hand. The only drawback to this technique is that it only works on flat surfaces, If the inlay is sanded back unevenly (eg, on a radiused fret board), the thickness of each of the strokes vary as more or less of the prismatic inlay is exposed. A bit of danish oil brings out the true effect of the contrast. The whole logo here is only 8mm x 60mm:
  32. 7 points
    Fretboard glued on. Obligatory ”lay the crap on and see if it looks like a guitar” pic. Fretboard was left long, it will be trimmed to fit neck pup cavity. Starting to get a wee bit excited.
  33. 7 points
    I guess this is done. After putting the center star flare star in I wish it was the smallest instead of larger, as it breaks the illusion. But the flares nexus was also not realistic. Also, since the top flare tilted on inlay and is very shallow on one end, it may disintegrate as I do final sanding, so we may not be done yet. Lastly, the two tiny pearl areas to the left of the star flare just disintegrated as there was so little area. I may be able to set in some tiny triangles, but not today. Overall I’m happy I could get this much!
  34. 7 points
    The back plate has been attached and about 90% filed/sanded/scraped flush with the sides. It's very close in most areas except for the scroll and neck join/heel areas. The join is pretty solid. There are a few imperfections in the 'usual suspect' areas. I don't expect it will be very noticeable when it's all said and done. Once I get the scroll/neck areas cleaned up I'll add a small roundover on the back, since I'm not planning on binding it. I've tapped on the box some, and it has that 'high ping' sort of resonance. I don't honestly know what I'm listening for, but I do like the sound of it!
  35. 7 points
    Once I was able to see better I found that I did need to revisit the polishing. And once I got the hardware on it, I found a number of things that need to be tweaked. In the meantime, I got to see what it looks like with the hardware hung on it, at least for now. SR
  36. 7 points
    Done. Those Klein '58 PAFs sound great, they have a ton of character. SR
  37. 7 points
    Yes sir. It makes it so much easier to get an even color. Here is the Paduak SS almost ready. This thing is a beast!
  38. 7 points
    Introducing the Pinky Dinky Mahogany/Alder 3-and-a-bit-piece SS body, Maple (reverse F-style) neck, Richlite fretboard, Gotoh fixed bridge (Cosmo Black), Gotoh 381 tuners (Cosmo Black), Irongear "Metal Machine" pup and Amaranth Red matte finish
  39. 7 points
    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
  40. 7 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
  41. 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!!!!
  42. 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!
  43. 7 points
    Custom KM-I carve-top finished - Wenge on Mahogany body, 5-piece Maple/Purpleheart neck, Ebony fretboard, Floyd Rose Original, Schaller M6 tuners, BKP Miracle Man (bridge)/Cold Sweat (neck) and Tru-Oil gloss finish... That Ziricote top will be next... Then some new stuff coming...
  44. 7 points
    Heel carving... with a gouge, a rasp and sand paper.
  45. 7 points
    I'd like to make a comment about the line under your nitro on the body. I'm on builds number 2 and 3, not a very experienced luthier, but a VERY experienced furniture maker. What happens is that people use Titebond or Elmer's yellow glue or equivalent for edge gluing 90% of the time, and these glues cure by losing the water. The glue hardens in hours, but the water soaks into both pieces being glued, swelling them slightly at the joint, and wicks away in days or weeks until the moisture content at the glue line matches the rest of the plank. You can plane the wood you have glued up in a matter of hours, but the wood immediately adjacent to the glue line will shrink very slowly afterward and you'll see that slightly sunken line. What to do about it? Plan A is to let it dry for at least a week before you plane the wood. The defeats the whole purpose of using a fast drying glue. Plan B is to use a glue that does not introduce water to the joint. I use System 3 T-88 two part epoxy on anything that needs to come out beautiful, including my first bass, which was done almost entirely with epoxy. Others use West Systems epoxy, which I also might go for except that I could never finish the big containers they sell it in (for a lot of $$$) before it went bad. Don't use the 5 minute stuff--the slow drying epoxies have much higher strength. Another product with a good reputation is Smith's Oak and Teak Epoxy Glue. Epoxy likes a slightly rough surface at the joint and not huge clamping pressure, but these glues are very strong and thus very forgiving. When you figure 8-12 hour drying time, they are FAST compared to a one-hour glue that needs a weeks or more to dry out perfectly at the glue joint. I might use Titebond II for things like headstock veneer gluing where the temporary moisture increase will not cause that visible problem, but never for edge gluing on a visible surface. Why? because I have seen this same issue on table tops and been really disappointed. Another benefit is that you get at least 20-30 minutes of working time, so epoxy is great for a complex glue-up where Titebond would be setting up while you're applying the clamps. One more thing. In West System epoxy or any product where the resin and hardener are sold separately, you can save some money because the shelf life of the resin is many years. (Epoxy resin is BPA, a notorious endocrine disruptor which you can Google of course, so use gloves when you apply it). It is the hardener that ages out in a year or two and that can be replaced without throwing away the whole quart or gallon of resin. So maybe I'll try West Systems next time I run out. Last comment: you can tint epoxy (also Titebond actually) with a few drops of Transtint dye to match darker woods, like ebony, walnut bubinga, etc. Hope this helps! John
  46. 7 points
    this is close to being finished...redwood is becoming my favorite wood for tops...i
  47. 7 points
    Hi all, this one is now done (except for a final setup and a cavity cover. SO pleased with it and a huge thank you to all who commented and offered advice. I really appreciate it. I also managed to get it photographed, which is rare for me. I would absolutely love to hear your thoughts. Now, off to start a superstrat, with a spalted maple top...
  48. 7 points
    Welcome to this episode of spot the guitar!
  49. 7 points
    I've been having too much fun building..kinda forgot about this whole internet thing :-)
  50. 7 points
    Here's the finished product... almost. Still gotta get it fully wired, but all the appearance parts are done and the finish is rubbed out and waxed up. Purpleheart/curly maple pickup rings, knobs and switch tips. Hope you like it! Oh yeah, almost forgot - she weighs in at 12.6 lbs.
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