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  1. 8 points
    Seeing as I got a shoeing by Scotts burl beauty last month, I thought I'd enter Adrians singlecut that I was working on along side the bass build. Specs Chambered construction with PRS style f-hole, Bosnian maple top, African mahogany body and neck, Ziricote fretboard with maple binding and mop inlays. My usual Schaller Signum bridge and Sperzel trimlock tuners, bone nut (the first nut I've cut myself) PRS 85/15 pickups 1 vol, 1 tone and 2 mini toggle switches for coil splitting. The finish was done with Angelus purple and rose leather dyes, chestnut cellulose sealer, walnut grainfiller (on the mahog) and Morrells nitrocellulose clearcoat. The build thread is included as part of the billy bongo bass build
  2. 6 points
    It actually came with the jeweler’s saw I bought for cutting inlays, the whole thing was quite cheap ($15-$20) but the jig and saw both work great! Sanded it flush this morning and thank God it turned out alright, this is still dry with no oil and I’m hoping that will help blend in my “fixes” even better.
  3. 6 points
    Oak Hollow body guitar This was my 4th build, I wanted to try something a bit different recycling the wood from an old oak wardrobe, carving out the hollow body by hand and having a go at making my own bridge, tailpiece and pickup rings. Very lightweight with no balance/neck dive issues. Specs Oak body, with a bolt on Maple neck and a rosewood fretboard and brass nut. 24 frets 646mm scale. Oak bridge, tailpiece and pickup rings. Wilkinson Machine Heads. Wilkinson Zebra Pickups. Colron natural Danish Oil Finish. Build thread -
  4. 5 points
    Retrosonix "Bow-Tie" 25.5 inch scale. warman 5/2 tele bridge pickup. roasted sycamore neck and fingerboard. one piece ash body with roasted sycamore top. I wanted a lightweight guitar with minimal knobs and pickups so i had no excuse to just play.. i based the design on the MM st vincent and was also influenced the hollowbody explorer that Ben at crimson made. i got the wood just before lockdown and made it in my garden that i share with my chickens and ducks. the weather was great, it was a fun build.
  5. 5 points
    Thanks buddy. This one has been a serious test of that patience. Oiling neck. Finally it is similar color to the lacquered body core.
  6. 5 points
    Closing in.
  7. 5 points
    Hand built by robots for robots for Def Robot... The Def Robot Flying V Specs Sapele Neck though with Ash wings and a Panga Panga fretboard with a 10" radius, medium jumbo stainless steel frets and a Tusq XL Nut. 24 frets 646mm scale. Gotoh 510UB-C Wrap Around bridge Gotoh SG381-07 Machine Heads Seymour Duncan Distortion Mayhem neck and bridge set, with separate volume pots for each and a single tone pot with an orange drop cap. Stained with Crimson Guitars Black Stunning stain shots and finished in clear nitro Build thread -
  8. 5 points
    This thing is just about polished off, I just need to figure out where to keep the battery and install the controls for the piezo A few pictures. By the way I've reduced them 30% and hope they're interesting Ground rules, most important things first I used heat-shrink to pull the switch through, comes in handy for all sorts of reasons! One of these is a Gibson. You should be able to tell which one but not bad hey? The art of photography is something not to be scoffed at. Its quite a challenge to capture the chatoyance on 2D Under a different light You're so beautiful I want you back Who wants a chip? Up North there's a big hill called "Mt Nameless" I've been thinking its not a bad name for a guitar... Hope you all like the piccies and if you want to make a comment, go a head
  9. 4 points
    Swel AT1 This is my second build. First one was the zebracaster which took me an awful long time to get done, so I’m happy I did this one in ‘just’ a few months. My goal with this build was to create a design of my own in stead of using an existing template. The idea is to use this build as a prototype for future builds of the same model for sales to the public. Also I like to learn with each build so new for me on this build was a scarf joint and a recessed jack output. Also a color finish using spray cans was somewhat new to me Materials: Because this is a prototype I decided to use available woods and hardware as much as possible. I got some basswood from my woodshop ( www.masave.nl ) and I cut a piece of maple into several pieces for necks and fretboards. Background As I don’t have a professional workshop, the build was done mostly in my backyard, using available power tools. For planing/thicknessing I used my friends carpenter’s workshop planer. I don’t have a background in woodworking other than doing renovations in my own home and what I learned building my first guitar. Design The design was based on a couple of guitars I like a lot: · Ibanez guitars like the JS model: sleek designs with round shapes · Mosrite guitars : asymmetrical body · Heins guitars From a playing perspective I personally like small radiused guitars, but I want to make this model ‘allround’ so I gave the fretboard a 10” radius. The scale is 25.5”. Also to create a versatile instrument I’ve added a Schaller superswitch to create 5 different pickup combinations using 2 humbuckers with 2 different single coil modes. I designed an angled neck pickup for a brighter response on the high strings. Specifications: All the specs: Scale length: 25.5” Radius: 10” Body wood: Basswood Neck / Fretboard: Maple Pickups: Neck: Dimarzio Fast Track II, Bridge: Dimarzio AT-1 Electronics: 1 Volume, 1 Tone, 5-position Schaller P-switch, 0.1 uF tone capacitor Hardware: Gotoh Wilkinson VS400 trem, Gotoh tuners Nut: Graphteq Frets: 22 Slim Jumbo (6105 style) frets Position markers: 3mm abalone dots Decal: Swel is my guitar make name, which translates to a Swallow in English. Hence the bird/swallow decal. Video: I've made a short video showing the guitar and playing some things to let you hear the different styles and switch positions. Pictures: A blue chord needs a blue guitar! Rounded shapes, Gotoh Wilkinson floating trem. Had to route the neck pocket in a 1.5 degree angle to allow for proper floating setup. Headstock with Swel logo decal. Custom white trussrod cover. Graphteq nut. First attempt at a scarf joint and vollute. Gotoh Tuners. Maple neck. Shaped for comfort. Action setup comfortably low but allowing fierce playing. The back: recessed cavity cover for the electronics. The Trem cover is mounted on top of the back.. Shaped the neckpocket join for better accessibility to the high frets. flat curve for stable seated playing. 1V1T with chrome knobs and the Schaller P-switch. Body mounted pickups, 22 frets.
  10. 4 points
    Hi all. I must be the only person who's made far less progress than normal under lockdown. Oh well. Here it is. My latest progress.
  11. 4 points
    Getting back to work on this one and did a bit of inlay cutting today. I spent quite a while working on those little abalone crescent moons, but I wasn’t able to get them consistently shaped and thicknessed, so I don’t think they’ll stay. Still up in the air on what will go into the board other than the 12th-fret quilted maple bit.
  12. 4 points
    My wife said "it looks like your octopus is in jail" First of all, not an octopus. It's an unknowable cosmic god. Second, Cthulhu doesn't do jail, those are polarized vortex phase beams and they allow us to see it without going insane.
  13. 4 points
    When I was young and living in a small town in Holland it never occured to me that I could actually even buy an electric guitar! After I found out I could, I bought one and regularly visited the guitar shop of Wim Heins in Holland who was also building guitars. I already started tinkering with my guitar early on, changing a SC to a humbucker in my strat, rewiring etc. The ultimate goal for me was to build a guitar from scratch which I wouldn't have thought possible if it weren't for Heins. and about 30 years later it happened: MAGIC!
  14. 4 points
    I’ve played guitar for 50 years, and always done my own maintenance. There weren’t any guitar techs when I started. A couple of years ago I was challenged to build a Telecaster from a kit. After that I started to build my own guitars, about one a year, changing the design each time to get closer to an ideal gigging guitar. That’s more about function than looks. Binding, for example, reduces the damage when you knock your guitar against something hard. Pickup switching options increase the range of sounds, meaning fewer guitars to carry. Two years ago I started make headless guitars. Their tuning is more stable, and I’m less likely to clout the singer when the playing area is small. The latest has a Klein style body:
  15. 4 points
    I'm getting better at flattening two surfaces to glue together - and better at matching grain. The 1" heel extension is on: The bit that made me smile was that the grain in the walnut splice actually matches the maple! What's the chances of that? This heel extension gets the neck to the correct height. The slightly more scary bit is getting it to the right angle - but there's quite a few things I have to do before I can work out the angle and start cutting mortices and tenons. Nevertheless, that's a few more of the basic components starting to come together: The great big lump of brown-tinged ebony is what I'm going to try to carve a bridge from - when I can work out how to do that Thanks for looking, folks, and for the encouraging comments along the way.
  16. 4 points
    Still working out some details... but have a multilam neck blank glued up and figured I might as well create a placeholder for 1 of 2 basses I'll be shifting my focus to in the coming months... I'm calling it "Fish On". Going to be a 35" scale fretless but with fret markers. was originally thinking I'd do an archtop style bridge with piezo... but I just can't live with the idea of not being able to zero in on my intonnation, and none of the piezo bridges that are commercially available do it for me... so decided I'll go with a hipshot d style and string thru. I have tentative plans to do some piezo ribbons towards the neck side. anywho, below is my goal. I think I'm going to do a compound radius on this top, or at least a more aggressive radius... still working out the details. any/all feedback/thoughts/tom-foolery/encouragement welcome.
  17. 3 points
    Well, that patterning is definitely the wood - and now I've sanded down properly you can see the bookmatching. It has also toned down the contrast a touch. I don't know how well the photo looks here but in real life it's beautiful! There's an orange hue mixed in with the browns - delightful and further finishing will only enhance. It reminds me a little of those lovely Tasmanian wood samples you gave me, @curtisa (and brought literally in person from Tasmania to my home UK county, folks ) I've also tidied up the surround of the rosette - I'll put up a shot once it's dry enough to sand off
  18. 3 points
    The fitting of the bridge is perhaps the most critical part of an acoustic build. It simply has to be right. And there are big, big, problems if is isn't. First step was cutting the angled saddle slot. In the end, I had to make another jig - to be able to accurately use a router: Next was recognising that the top is spheroidal - and therefore the bottom of the bridge has to be shaped accordingly. I will use the old 'engineers blue' trick: First I put some masking tape on the top and put some school chalk evenly all over it: Rubbing the bridge a small amount on the chalk reveals the high spots: Sand the chalk marks off and repeat...and keep sanding the areas where there is chalk and repeat and repeat. This is starting to get there: As long as you only sand where the chalk is, you are always lowering the high spots. Eventually, there is chalk on every bit - and then you know it's a perfect fit. Next is position the bridge - scale-length-wise and double checking with the string lining up: Then cut round the bridge through the masking tape: Wood components have a tendency to float on the layer of glue while they are being clamped, and so need position positioning. So I now drill through a couple of the string holes and will use some bolts to position and help clamp during gluing: But, the main ooomph is a long reach clamp with yet another home-made jig - this one is to act as a clamping caul for the bridge body, and then the two captive screws clamp down on the bridge wings: And there it will sit until morning
  19. 3 points
    Finally got around to this idea ive had for a long time! it was way easier than i thought.
  20. 3 points
    Headstock plate ready to glue and fretboard glued: And does it still line up? Phew! The headstock plate will be glued on tomorrow - this is how the veneers worked out: All being well, I should be able to start the neck carve in the next couple of days
  21. 3 points
    Derail away lads! I always learn something from the conversations that happen on this forum. Yes the dust does get in there, but I’ve had good luck cleaning it up in the past, and after all it’s just the 12th fret inlay that will need it, plus it’s going to be dyed a color anyways. And yes @mistermikev it’s curly ebony - bought a $20 fingerboard blank and was surprised to find the figure hiding under the bandsaw marks! Got some routing and a tiny bit of contour carving done today. This is my first multiscale and even though I knew it was coming, the pickup cavities at different angles from eachother still freaks me out! Simple, clean cavity. Roasted curly maple cover from the same piece of wood as the neck.
  22. 3 points
    They are Stringjoy 10,13, 16, 26w, 34, 46, 64, 85 Boy, I just did sound test #1 and I’m not sure I could be any happier. Just tuning up the strings unplugged, you could hear how resonant it is. The coco / swamp ash combo is magic. Also, the pickups are just great with three voices and so much tonal range. String spacing is perfect. Action is super low and clean all the way to the F# 24th fret (cool sound that). Needs intonation, and the G string is a bitch as usual. I’ll never be able to play it like it should be played, but I don’t care. lol
  23. 3 points
    The frets were de-tanged at either end, ensuring that none of the tang metal was proud of the un-bound fretboard. As usual, I fitted the frets with a teeny thread of titebond, hammered in and then clamped with the 12" radius block: The frets force the fretboard into a mild curve and so, to sand down the fret ends to the exact overhang, I first clamped it to a straight edge beam, with the fret ends clear for sanding: Then I could turn the whole assembly round 90 degrees and sand all of the fret-ends straight and accurately along my long sanding beam: This made it quite easy to get the fret overhang even along the whole length and accurate to 10th of a millimetre. I repeated for the other side and then rounded all of the fret ends. So now, if my calcs are correct, I should have the target width of fret, and the binding less than 0.5mm deeper than the overhang - which they are and which it is : So now I just need to plane the top of the binding so that the bottom feature line is flush with the bottom of the fretboard. And then glue the bindings on each side: So when the glue's dried, I should have: - a silky smooth set of fret ends - a teeny binding overhang to round off - a trio of feature lines to set it off against the maple neck Fingers crossed!
  24. 3 points
    A question is always what to do about fret-ends. I usually de-tang the frets, fill the tang slot and then round off the fret ends. But on a few of my recent builds, I have experimented with what seems to be a win-win-win method of binding. It's worked well so far and so I'll be using it on this. Basically I: detang the fret ends; fit the frets with the ends overhanging; round and finish the fret ends; add a binding with a feature strip; round off and and slim the binding. This is what I mean: So the frets are overhanging - to an exact measurement (easy to do - you just sand the whole fretted board edge on to get to sub-tenths accuracy); the fret ends are rounded; the binding is sanded to exact height and glued on; the binding is rounded off and slimmed a touch so it is around a mere 0.25mm proud of the fret. So the win-win-win is that you get a demarcation line for free, you get a lovely rounded edge to your fretboard and you don't get sharp fret ends even if the board dries over the years. Anyway, that's the theory, and it does seem to work I have one more thing I have to check/do before any of that but, in preparation, I have a binding that couldn't have matched the macassar better if I'd tried!: And the same binding will go on the body edges (it's the 'manufactured' Rocklite Sundari product) Another final thing that P and I have sorted is the headstock. Here the intention is, if at all possible, to keep the string runs straight and to get the whole thing to fit into a standard OM/OOO size guitar case. Happily, while I was drawing it all up, the tuners (Schaller M6 mini) arrived and so I could see if it was going to work. I think it will. And have room for a couple of swifts: There's a few things to do and to check before I do any of this...but, anyway, that's the plan
  25. 3 points
    Its been a while since i last checked in. Hope you are all safe! Ive taken on way too much work. 12 hour days every day to catch up.
  26. 3 points
    No no, I wasn't kidding. Slightly cleaner, just top get a little clarity and the touch sensitivity, more of an edge of breakup like an OD vs fuzz. Or, MORE GAIN. That would sound pretty cool with a lot of heat on it. outraged, lol. You should shred on it and bring it back to them and make them cry.
  27. 3 points
  28. 3 points
    so... laid out my rabbets/dados/grooves... oh my! and started cuttin' some groovey grooves... with dido playing on the radio as I did the dados... and then white rabbits as I did the rabbets. good times.
  29. 3 points
  30. 3 points
    Managed to pop round to my friends house today and asked him to do a few licks on the guitar. Once he had cleaned that off he played a few tunes...
  31. 3 points
    I'm not sure arguing over who has the worst government leader has any value in any conversation. Every leader has proven to be a total cretin in some way to somebody. Bojo is no exception and I voted for him. That's politics. I also don't get the constant argument against farming meat - During feb-april, emissions fell up to 26% in many parts of the world but the power was still on and the cows were still farting, cars, trains and planes on the other hand... I speak as a complete hypocrite driving a gas guzzler but then I only drive a few thousand miles a year and if everyone one drove their cars a few fewer miles each day, didn't take as many foreign holidays, emissions would fall.
  32. 3 points
    Well roughed in the back carve last night, waiting on the bass body to cure. Added a bit more scoop to the back side of the cutout, pics later.
  33. 2 points
    I'd call the neck-body transition 75% complete. I'd like to dial in the immediate transition from the body to the neck more towards a 45° slope around the profile, however that's within "80 grit sandpaper range" as it stands. Current tools being used are my go-to rasp, a very old 10mm Sorby outcannel gouge and my Mirka DEROS loaded with 80 grit Abranet. The main foci here are keeping the sweep from the horns' radius trailing edge consistent so that the profile drops in with a similar 12mm radius to the shape itself. The neck profile begins to change into the heel profile around the 15th fret.
  34. 2 points
    The last place I worked, scrapers were used and abused with zero sharpening. People literally ordered a new one or grabbed somebody else's (not mine....I engraved "Carls Scraper - FO" on the face) when the last one didn't work. Insane. Talking of cheap and simple solutions, I snagged a broken solid carbide cutter from one of the CNCs and put that to use as a scraper burnisher. It's excellent for producing a smooth and slightly-rounded edge surface whilst peeling over cutting edges. Waste isn't waste until you are absolutely out of ideas on how it can be re-used, re-purposed or re-made. Those are some fine looking shavings. If you've got a few Stanley blades kicking around, I recommend marking one side up and turning over a hook on those too. They're magnificent detail scrapers. A card scraper holder is great for not burning your fingers, definitely! I've also seen solid scrapers become more and more common now, which absorb a lot more heat within their mass. They're also smaller in general. StewMac sold/sell one, based on an idea which has been going around in fine woodworking circles for a long time. I've been wanting one of these Crucible scrapers since they came out. Pretty easy to make from a standard scraper if you're patient with a grinder and able to help the steel keep its temper: https://lostartpress.com/products/crucible-card-scraper There's also a great sharpening video within that.
  35. 2 points
    Ok, so this summer is a little difficult as you all know, and I had a lot of things to do in my medical practice plus a new project that is on its way. Anyways, I came up with a Silver Onion guitars logo. That is my Greek name and surname translated to English - roughly. So I dug with the dremel diamond straight bit and sprayed some silver nitro on the grooves. That gave me the finished result of this guitar! Enjoy! Final sound clip coming soon! The specs of this guitar can be summed-up below: 1-piece obeche/ayouz body and neck construction Bigsby B5 vibrato black reflector knobs Black plastic pickguard with Silver Onion logo Black plastic truss rod cover encrypted as “The Corona bird” Traditional curved single acting truss rod with maple cap Switchcraft 3-way toggle switch Switchcraft long jack Belden/ vintage pushback guitar wire Emerson Pro 500k long split shaft pots Orange drop .022μF capacitors Seymour Duncan SM-2b bridge minihum Nick Silver Blue Moonlight alnico 2 neck p90 “Elias Zaikos” model. GMI - Halon guitars 1060 steel bridge with self-lubricating brass saddles GMI/ Halonsteel bridge posts GMI/ Halon heavy knurled brass thumbwheels Hand - selected by tap tone Indian Rosewood fretboard white plastic fretboard binding black plastic side dot markers Pearl dot markers 7mm Dunlop aluminum strap holders 24.625” scale 12” radius Bone nut Steinberger tuners (finally here) Nitro finish “hammerite green metallic” light relic Pyramid .10-.38 pure Nickel strings!!!
  36. 2 points
    The other classic jape that I love (however, may be apocryphal but people can be pretty damn green) is to get somebody to jump start a diesel generator by running it around the yard on its castors, whilst yanking the cord.
  37. 2 points
    Alrighty, enough of the silliness. (there is never enough silliness) The plywood was collected today, and I put together the main part of the carcase. The top, central chamber, drawer and rack fronts have been put in place just for a little positive reinforcement. In general it's a very straightforward build, and a lot of the work comes from the precise cutting of the materials. Currently, I have no access to a table saw so I provided Levy Jaati with a cutlist. It really was worth it on the basis that I could just move straight on with the job. The camera angle (24mm pancake) makes a nice job of reducing the apparent scale of the table....the plywood is 24mm (just under 1") and the MDF top (which I'll be laminating with melamine) is 30mm. Drop some 75mm or 100mm castors on the bottom and woo, table!
  38. 2 points
    Sounds like an interesting project, Mike. I take it this will be MDF construction (or similar) rather than aluminium/steel? 0.005" is a little over a tenth of a mm. I would think that'd be better accuracy than you could achieve with a hand slotting mitre box and template. Once you factor in dressing/re-crowning the frets, playing style, seasonal movement of the materials etc, it's unlikely that even a base accuracy tolerance of twice that value would cause much concern in practice.
  39. 2 points
    I guess this is morphing in to a rejuvenate thread. I thought I should have a better neck rest for working on this Regal. I had been just resting it on a 4"X 4" piece of wood that was actually the sawed off top to the privacy fence around the back yard. I made a radius on one side and then covered it with some old indoor / outdoor carpeting. I think it will work ok. Ron
  40. 2 points
    This is what my experience was like with the curly ebony. I've got small carbide end mill bits (1/16", 1/8") which cut well, but anytime there was a little corner or small freestanding area (think center of an 'O'), there was great danger of a chunks just flying off.
  41. 2 points
    Yesss.. What strings you have there? You know how the sound check will end up.. This guy has died so many times before. Just do it once more
  42. 2 points
    Hello, I decided it’d be interesting and a challenge to build musical devices for my grandkids...and me. So, my first project is an electric guitar. I’ve been lurking here for a bit. You all do some amazing work! I’m hoping you’ll cut this non-musician noob some slack and help me out. I knew nothing about electric guitars a few months ago. Clueless on Humbuckers and hardtails not to mention tuning machines. Anyway, I’m learning. Rock and blues lover all my life but never a chance to do more then listen ‘til now. I’ve progressed to the point where I’m ready to take a stab at building a complete guitar. I’ve designed a Fender inspired body and neck. Cut a few practice pieces on my CNC. CAD/CAM is Fusion 360. I’ve got on hand a couple of Seymour Duncan Humbuckers and a hardtail bridge. I’m thinking I’ll order pots, strings, switch’s and tuning machines from StewMac. I’m a bit confused on wiring options and would appreciate any advice. I’m guessing I need two 500k pots, not sure on caps or switches. I see some simple toggles as well as two post sliders. What do I need? Keeping in mind I’d like to keep ‘‘tis first build as simple as possible. Not afraid of soldering. Some pics of prototypes.
  43. 2 points
    I think what you've described is how these things are both the difference and the relationship between sense and sensibility. Holography has the ability to have one's senses fed, manipulated and tricked into aesthetic feeling whilst sculpture is a deep dive into the sense of the medium one is working within. I'm probably a little off the mark and bordering into absolute pretense here, so bear with me. I mean well, honestly.
  44. 2 points
    Over the internet, between us P & I spent a bit of time double and triple checking the intended neck depth and width. P already has a much loved Guitar Bouzouki and ideally wants this one's neck to be just a few mm wider and just a few mm shallower. That has meant that I can taper the neck blank widthways and depthwise. Within a mm or so, this is how the proportions are going to look. To my eye, quite pleasing: And getting the depth in the right order of magnitude meant that I could rough-carve the heel - I will creep up on the final shape once the neck has been profiled. I find the least damage I can do while removing the greatest quantity of timber is using microplanes. I hold them scraper-wise in gloved hands rather than using a handle: Then move onto a gooseneck cabinet scraper: As I say, the heel shape will be worked on over a period of time, but it gives me a head start: You can see here (although this clearly isn't carved and is a mm or so oversize) that the neck on a Bouzouki is quite a bit deeper than a guitar or bass. In terms of the profile, I always try to make sure - even though every instrument has its own feel - that a build has at least a comfortable feel of familiarity to the owner. So I send a profile gauge for them to take a few profiles off their favourite players and try, as best I can, to replicate that: The gauge is on its way to P as I type
  45. 2 points
    No kidding! How many times have you done something and thought you were done (esp necks), then later you go to "touch it up" and have another big session of microplanes, scrapers, sandpaper etc. Magic = really hard work!
  46. 2 points
    And to the fret slotting. Another good buy from G&W that has done a decent number of fretboards over the last few years: The red on the bench isn't blood - it's some red stain from a recent veneer job The unit is screwed down to the bench and the top dog clamps on my bench are a bit of a godsend to stop movement during the fairly tough and vigorous sawing. Note also the packing pieces, again to stop the fretboard/template assembly from moving at all. And don't fret (yes, I know ) about the 25.000" etch - it's a two way template. The side I'm using is 25.500" And this is where the fretboard will join the body - at the 16th fret: The next task is working out what the next task is
  47. 2 points
    So you know where I'm coming from politically, I'm dead center. People here forget that the elected official represents everyone, left and right. I also believe that what's inherently wrong with our system, is having such a polarized party system (and a large segment of the populace who don't think). That said, Hair Furor is a big fat idiot and I hope the rest-of-the-world won't judge us by his transgressions.
  48. 2 points
    Managed to get on with the wiring this morning. No issues with the soldering iron, everything now in place... not as tidy as some I have seen on here, but good enough. Next up was the machine heads. And then onto the stringing up. Made some adjustments to the nut and bridge, the action is really good. Nut glued in place and then it was plug in and test... it works, very nice sound. Those Seymour Duncan Distortion Mayhem pickups are really nice. Couple of pics with everything in place. And then onto some glamour shots... not got the weather for the outdoor pics, so had to do some indoor shots. Extremely pleased with the finished article, has been a really good project. Just waiting for it to be collected now, possibly this weekend.
  49. 2 points
    Here is a more traditional layout idea:
  50. 2 points
    Mine is the Fiddes. I did look at the Osmo but couldn’t get it and this Fiddes rated highly. You only need a very small can, 250ml. This is very different from other oils. It dries quickly and really hard. Here’s a slightly better pic with about three thin coats.
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