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  1. 8 likes
    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....
  2. 7 likes
    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!
  3. 7 likes
    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...
  4. 7 likes
    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
  5. 7 likes
    this is close to being finished...redwood is becoming my favorite wood for tops...i
  6. 7 likes
    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...
  7. 7 likes
    Welcome to this episode of spot the guitar!
  8. 7 likes
    It's a beautiful sunny spring morning here in the English midlands and I couldn't resist a couple of piccies... Another couple of "flow" coats on - unfortunately not quite as clean this time and introduced a small curtain on the backside of the lower horn. It might polish out, but might need knocking back and going over again. I'll ponder it. The front is looking pretty darned spangly though!
  9. 6 likes
    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.
  10. 6 likes
    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!!!!
  11. 6 likes
    Just realised I've had this sitting around finished for some time now, so without further ado I give you the following: Needless to say, I'll be steering clear of painted finishes for a while now.
  12. 6 likes
    well KEA my build is basically the opposite of your super-clean ones but do build more! Last week after fretting I did a quick alignment check by locating the outer bridge saddle holes and checking that the strings run parallel to the fretboard edges and that I can set intonation ok. All appears to be fine so I can continue So now the neck, heel, volute etc. So far I build almost only bolt-on guitars so I don't have the process down for carving the heel. ok, this is kind of in the direction I want it to go, but not exactly. The transition from the neck to the body starts pretty early. I took a look at my Mayones Regius to compare, and there the neck retains its profile pretty much until the cutaway actually starts. It's a slightly different thing since there only the back is rounded over, but still. This is a bit closer: I need some tools for the future, probably at least a good quality rasp. Right now its going rather slow, but I'm getting somewhere. The volute is almost done, the purpleheart/maple accenting came out pretty cool: and the heel: Now I think I'll smooth the body a bit and shoot some primer, with this blotchy mess I cant see anything. Plus the super soft pine all over the place freaks me out, I fart and it dents. Oh well.
  13. 6 likes
    Messing around with fretboard blanks and a few off cuts. The flame is quite strong on this maple. Not sure if ill use it for this guitar, but I quite like. Reminds me a bit of the pavement on Copacabana
  14. 6 likes
  15. 5 likes
    Context: I'm fairly new to the ProjectGuitar community, and to guitar building, though I've played for 35ish years, and have been woodworking for 25ish. I've done a few repair/restoration/modification projects on electrics, acoustics and ukes, and am embarking on my first full, from-scratch electric build. I'm building it with my son (which, of course, is super fun for me) who has recently gotten serious as a player, and is interested in learning a little about the build process as well. Here's some shots of the shop, which I recently reorganized to be more guitar friendly (previous focus had been classic car restoration - '74 Fiat Spider, '69 Fiat Spider, '69 VW Beetle). And this is us: What we're thinking: It will be a pretty straightforward Les Paul, though we may take some liberties with the pickup configuration and the headstock design. We have African mahogany for the body base and the neck, maple for the top, and a nicely figured wenge for the fretboard. We might use the wenge to veneer the headstock too, but that's still an open discussion at this point. We're going to do an traditional carve on the top, most likely using the angle grinder with carving disk approach as opposed to the router and sander approach or the gouges and chisels approach. What we've done so far: The build is just getting started. We've been studying plans (and making our own where we need them), making templates and gluing up blanks. We dutifully searched the internet for Les Paul plans and dimensions, and started our design from there. We found most of what we needed, with the exception of good dimensions for the neck. So I extrapolated from what I had and drew up the neck myself. We've made MDF templates for the body, including one to use for routing the body itself, and for the electronics cavities. The other is for routing the weight relief cavities, and the neck cavity. If this build goes well, we have enough mahogany and wenge to make another one, so hopefully these templates will have a future as well. We've cut out and glued up the blanks for both the base and the top. The boards came S3S from Cherokee Wood Products in Upland, CA, and it only took a little tuning with the plane to get the edges flat and square for gluing. What's next on the agenda: Laying out the neck and getting it rough cut from the mahogany board is our next step. The new band saw just came yesterday, so I have some set up and tuning to do on the tool before we put the blade into our good wood, but hopefully by the end of the weekend we'll be ready to start thinking about cutting the body shapes out of those blanks. Hope you'll enjoy following along with us. We'll be glad to hear any input, suggestions and ideas. Cheers! -- se
  16. 5 likes
    Yeah, filing another patent. dammit. Another $15 grand. Still recovering from the last patent I filed. Don't ask how this is made. Going with a black TransTrem on this one, once I perfect the lamination and cut it into a guitar face. Info on these builds can be found on my other threads. The guitar bodies in the pics are for scale (but they look cool too). The unidirectional fibers EXACTLY replicate the light refractive properties of quilted figure found in quilted maple and quilted mahogany (when they are molded in my patent pending process). Quilted gold coming next.
  17. 5 likes
    Ok, so it IS possible to get a good result with Magic Marble. For some reason most of my previous tries (and many of the ones I saw online) ended up with washed-out colors, there was not enough paint towards the end of the dip. But apparently if you keep the surface of the water reasonably big and go slow you can get nearly full coverage. Proof: more to follow. Also video. Now to not mess this up ...
  18. 5 likes
    Yes - it's a little bit special. We were in a remote part of Skye. It took 10.5 hours to drive from the midlands. Worth it, though: This is just to prove that I may be an old git, but I can still clamber up the side of a mountain...albeit like a very old goat...
  19. 5 likes
    Heel carving... with a gouge, a rasp and sand paper.
  20. 5 likes
    One of the things that always bugged me when I bought this guitar is that the bridge humbucker doesn't have any facility for coil tapping. As a backup to my other Pac721, I missed that I couldn't get the Stratty bridge split/middle single combination that its bigger brother could do. However, as I've got the guitar in pieces I have the option of correcting this deficiency without spending money on a new pickup by rewiring the pickup as a four-conductor . The original bridge humbucker is a basic two conductor jobbie. As it was always destined to be installed in a budget guitar, it's nothing special to write home about, and probably fairly similar to any super-cheap pickup available from resellers: Unwrapping the outer tape layer exposes the two coils. As a bonus the termination points for each of the windings are made out to little solder tabs, which will make it easier to solder the new 4 conductor cable to than loose winding ends: Useful tip: USB leads from old mice are a cheap (or free!) way of getting 4-conductor shielded wire for this kind of work. The cable is usually pretty flexible and skinny enough to fit through the various holes and channels. This 1.5m cable came from a crappy old mouse with a busted scrollwheel being thrown out from the office. There's enough cable here for four or five pickups: Dismantle the pickup and wiring. The solder tabs actually allow the wiring to be performed without having to remove the coils, but in order to desolder/reattach the ground braid on the baseplate I have to remove one coil to get access: Strip off a few inches off the end of the USB lead and feed it through: And start re-attaching the wires to the windings. I could go to the trouble of following a known colour code, but as this is a cheap no-name pickup going into a cheap guitar, who cares how it gets coded. In the end I have red = coil 1 start, green = coil 1 end, black = coil 2 start, white = coil 2 end: Wrap it back up with the tape (still sticky enough to be re-used) and voilà - a four-conductor humbucker for practically zero cost: A quick check to make sure the coils still have continuity after the resoldering, and we're good to go:
  21. 5 likes
    I made a lot of progress this weekend. I did like Pariahrob suggested and I made the bevel so it exposes the alder and I have to say that it was a GREAT suggestion. I'm really pleased with how it turned out, but it took a LOT of elbow grease to carve that wenge . I finished slotting the fingerboard and routed-it to shape. I also started working on the padauk neck (as you can tell by all the dust in the background). I'll be moving to my new house this week so I probably won't make any progress on both of my builds until I've set-up my new workshop.
  22. 5 likes
    Here it is in direct sunlight. The blue on the outside bursted perfectly and followed the figure just right.
  23. 5 likes
    Flame body sprayed today with Blue to Magenta Borosilicate and Orange / Red2Gold inside the scallops to match the hot rod flame cap. Now to store in front of the heater for a couple weeks.
  24. 5 likes
    so @KempGuitars tru-oil masterpiece got me all worked up to move ahead with my hackjob here and see if I couldn't get a half decent result. . We had a sunny day (was supposed to rain- we missed it)- anyway- I plowed ahead and wet sanded with 0000 steel wool, wiped it down, and hung to dry. these pics are after 3 hrs of drying. I think I got the back pretty well filled, I am going to have to do the front over once I completely get the glue I missed around the neck and bridge (and tailpiece)- I want to have the back done so I don't have to worry about drying etc and can work on the front when I can sit down and really concentrate.. I am going to have to pull out my optivisors and sanding stick/mini chisels and heck maybe even the big ass card scraper I have and really be careful not to mess up the edges of the fingerboard, bridge and tailpiece. should have make sure I got all that squeeze out. shoulda coulda woulda. I thought I did. Eyes are not what they used to be I guess. Lesson (I already knew) learned again.
  25. 5 likes
    Here is one other project i didnt really plan on. My local wood store got in some 8/4 zebrawood, and i had always wanted to do a zebrawood carved top.
  26. 5 likes
    I havnt done much guitar works for months. After a lot of personal life stuff that really got me down, i finally got a little motivation to finish up a few projects i have here.
  27. 5 likes
    Ok - I didn't want to be the forum noob that went straight off topic on his first post, but having been asked... Here's the '69 Fiat. And here's the '69 beetle. Start, Finish, and a pic of the proud owner. Basically, the older son is into cars, so at 16, we built him a car. The younger is son is into guitars, so we're building him a guitar. Lucky for me, I'm into both And one parting shot... We now return you to your regularly scheduled programming.
  28. 5 likes
    It's blue In dim light it looks almost black. In the light it's vibrant. It's the sort of colour that is not easy to capture on camera, quite similar to Rickenbacker Azureglo in places, but with the natural variation of dyed wood. It looks lighter in the photo than in real life. I've got it sitting on a sheet of white paper to try to give my phone camera a clue to the white balance, and has the unfinished maple cover in place too. I must admit (now) that I was tempted for a few minutes to keep the back natural. However there are so many guitars with a natural ash back - and mine definitely isn't "so many guitars" . Even my wife is coming round after several days of "you've ruined it" comments. I will be knocking it back slightly with some 0000 grade wire wool. That's more to even out the slight streaks and to lighten up the end grain slightly where the dye took more easily. The silk of the unfinished dye looks great, but I will be applying a clear lacquer and going "shiny" with it. Anyway, I'm very pleased with that. It's pretty close to my original vision. When I get to the top I'll try to burst it slightly, but still keep the colour saturated.
  29. 5 likes
    I've not updated this build in a while simply because most of my work focus has been on writing for the site! Oops. Guitar builders that don't build, eh? So anyway. The next job in the queue has been to edge sand the body wings to 240 grit and confirm that the outlines are "good" prior to binding. Any faults in the outline translate straight to the binding channels, so that is pretty damn important. Two channels were cut using the edge guide on my Makita palm router; one for the main tort binding and the second for the two fine purfling lines. The binding was arranged in order and "glued" at one end using only acetone; the binding dissolves in acetone, so it "creates its own glue". A few q-tips/cotton buds were used to liberally soak the wood, apply the binding/purfling and then wick a little more acetone top and bottom. Masking tape tensioned across the binding keeps it secure whilst the acetone evaporated. After 24hrs of drying, the binding was scraped back using a card scraper and a Stanley knife blade with a hook turned. Aside from a few stray fibres having torn out from the spalted top being "replaced" with binding squeezeout, everything is clean as a whistle. Next! Oh yes, the corner at the upper horn was heated with a hair dryer to soften it before easing around the tight corner. This alone took 4-5 minutes to patiently get right.
  30. 4 likes
    Just need to finish his eyes and lay on some oil. SR
  31. 4 likes
    Making Things to Make Things to Make Things One of the reasons I love woodworking is that it is simply what it is. It’s me and the wood and nothing but a tool or two between us. And that simple relationship gives rise to beauty and function with no pretension. Well, most of the time anyway. Sometimes it turns out that I’ve spent an entire day in the shop making something that I need in order to make something that I’ll use to make something, and that’s what today’s post is actually about. Creative Problem Solving The ultimate goal in this case is the Les Paul style electric guitar that Josh and I are building. We want the traditional Les Paul 12" radius, but getting a radius on an eighteen(ish) inch by three(ish) inch board isn’t as easy as running it through a band saw. There seem to be a few common approaches to making that radius (there are actually a million ways to skin this cat, these are the ones I see most often). Hand planes. If you are good, you can plane the radius into the board with a sharp hand plane. Something along the lines of a Stanley #4 is a good choice. This takes a good bit of skill though, and is easy to mess up – which is not what you want to do with a carefully selected, highly figured piece of wenge. Router jig. There are several approaches to jigs you can build for your router that will carve the radius directly into your board. Many luthiers use this approach, and I may go there eventually, but these are often pretty involved builds, and the jig you end up with really only has one good use. So sure, when I get to the point that I’m building a guitar each month or so, this is probably where I’ll end up, but for now I’m looking for a simpler solution that hopefully can address more than just this one need. Radius sanding block. Sanding blocks with one surface cut at the desired radius can be used to sand that radius into the fretboard. If you have a block with a known and trusted radius, this is a very safe method of transferring that radius to your fretboard – it is unlikely that your sanding block will transfer a wrong radius, or will slip and gouge your board. Also, take the sandpaper off the block, and you’ve got a clamping caul with a matching radius. Simple and versatile. This is the direction I decided to go. Buy or Build? Radius sanding blocks are readily available from lots of vendors. But I tend to be a never buy what you can build kind of guy, so before I started shopping, I started drawing up ideas. Giving credit where it’s due, my initial ideas for the jigs came from a post by @hittitewarrior . His jig is a pretty large contraption and that size seemed to introduce a little too much variance in his results, so I wanted to design something smaller and simpler. I ended up with the following. A simple tower on a flat base with a couple side-supports. A small trim router attached to a board that hangs from the tower on a pivot point. There is a pivot point in the tower, and a corresponding point in the board for each radius that I’m interested in. As you can see in the pics above, I started with a metal pin in the pivot point, but I had a problem with the pivot board wanting to fall off the pin, so I had to switch that to a bolt. This was much more effective in keeping the pivot board secured to the tower. I used 1 x 3 poplar for my blocks. These are just project boards from Home Depot so they are easy to source and very inexpensive. If I wreck one for some reason or if I want more, it’s not that big a deal. The block goes under the router (duh) with some shims to get it to the right height and to keep it centered as I run it through. In this case, I attached two blocks with superglue/masking tape to get the right height. I then ran the router horizontally across the block, cutting the radius into the surface (I did try running a block using vertical passes along the length of the board, but that gave me an inconsistent radius). After each pass, I advanced the block 1 or 2 mm, then made another pass. I went halfway across the board, then turned the block around and did the other half from the other side. This allowed me to keep my fingers out of the way, but also required that I had the block centered properly so the radius would line up when run from opposite sides. After running through the jig the radius was good, but as you can see, not completely smooth. I set the board so the shadows would accentuate the ridges – they are not actually quite as bad as they look in the photo. Some sanding with a flexible sanding sponge took most of the waviness out of the block and left me with a perfectly good surface to attach sandpaper to. After finishing the 12″ block, I made another with a 9.5″ radius (assuming a future Strat-style build). Hard to Handle (so make a handle) Since I used 1 x 3 stock for the sanding block, it is a little on the thin side when it comes to actually using the thing (i.e. holding and sanding block itself). To rectify this, I made a simple handle from 3/4 plywood and attached it to the back of the block. I chiseled out some recesses to create some extra support and glue surface, and clamped lightly while the glue dried. After a couple coats of wipe-on, matte polyurethane to protect, and keep the wood from moving too much, these sanding blocks are ready for action. They haven't seen any action because as of last night the ploy was still curing, but as soon as I can get some actual sanding done, I'll post a follow-up with some results. This was a fun project with direct costs of about $5 for the wood, and whatever value you want to place on the shop scraps I used to make the jig. I figure it saved me about $30 on two blocks, and now I have a jig I can use to make as many sanding blocks or clamping cauls I want in the future. Let me know what you think or if you have any questions.
  32. 4 likes
    Loads still to do, but another job off the list. Added smaller Luminlay dots in the fret overrun for the frets past where the body meets the neck: There is...sometimes....OK not very often...method in my madness... (and there's certainly madness in my methods )
  33. 4 likes
    So I have been carving the top these days... not finished yet, there are still some bumps here and there, but the hard part is mostly done. The carving has nothing special, it's just curvy... I like the dark natural "binding" the shape makes. The neck is still "stabilizing" after carving the back, so in the meanwhile I will take care of all bumps and try to make the pickup rings.
  34. 4 likes
    I let the body re-acclimatize for maybe three weeks. Actually the worm holes are completely filled with solid white powder, it is hard to remove. I tried 10Bar compressed air with little success, had to use steel brush to remove the powder from the surface tunnels. Only the few fly-out holed are emty. Nothing will loosen with vibration. BTW it plays like solid wood. And the neck is so nice, comfortable, and no nut buzz even without retainers. The biggest issue was hiding the lenght of pickup cables in the minimal cavities.
  35. 4 likes
    Current condition. Love how the gold wire adds accent, but not too much. Ready to cut and buff. Knobs will have the Gold Burl as well.
  36. 4 likes
    OK... Some progress on my build. She's off with the tech now getting frets levelled and the nut slots done properly. I didn't fancy doing this bit myself since the tools needed would cost as much as the tech... Not to mention he has experience in this and I don't. He said he was pleased with the fret work I had done and it's going to be pretty standard and straight forward. Go me huh? I of course had a play before taking it down to him. It's a strange thing, the 28" scale took absolutely no getting used to. It felt just as natural as my 25.5" and 24.75" scales. The only issues were a bit of buzz which I expected being un-levelled, and a bum note on the 11th fret, low E which was due to a slightly too firm tap with the hammer so it was sitting slightly lower than the 12th. All going well (fingers crossed) I'll have her back in about 9 days. Here's a pic... Not planned, but she fit perfectly into the hard case my 7 string Ibanez came in. Neck pickup is just a dummy... I have to either wind or buy one, that's an F-spaced bridge pickup. Also the push pull tone sits a bit too proud so I'm going to have to order one with a shorter thread. (Plus the only 47nF cap I had laying around was a 600V orange drop which is huge... Slightly larger than the push-pull itself.) So apart from small things like putting on the truss rod cover and control cavity plate, pickup and a little alteration to the wiring... She's done! Mike.
  37. 4 likes
    The clear is on! This one sprayed great. Very minimal orange peel. Should be really easy to buff out.
  38. 4 likes
    Changes are getting even more subtle, if that is possible. Poor baby sprang a leak in his ear. He is going to have to stay out of the wind, or get used to the constant whistling sound. The natural curves of the growth rings are messing with my sense of symmetry in his nose. I have to squint to kind of blur them out whilst trying to gauge if his nose is straight and centered. SR
  39. 4 likes
    Thanks! Got a lot of experience, just not on guitars. Compared to all the other stuff I have sprayed, this is relatively easy as far as the actual spraying is concerned, but the level of perfection needs to be higher, Just sprayed the body for the gold/silver quilt top. This has iridised gold borosilicate over white. A little tip for pearl spraying: You can't over "solventate" your pearl coat. I cut the urethane 50% with thinner on the blue/magenta boro body above, and the platelets didn't quite lay as flat as I wanted. Still looks awesome, but specular leafing could be better, I cut the gold boro coat with 75% thinner below, and it layed out awesome.
  40. 4 likes
  41. 4 likes
    Thanks Scott, glad you like my choices... I'm not fan of maple tops and trying to find a wood which looks simple, elegant and doesn't need any kind of stain, dye or sunburst... but I must say that there is some randomness in the process, as you never know what you will get from Madinter. I've ordered a Madagascar rosewood top and they sent an Indian one. But I'm happy with it, I think it looks awesome as soon it gets some spirits on it. Glueing and routing was a hard job, but life is easier with a robosander, I highly recommend it. So this is ready for neck attachment, which means "I need a neck"...
  42. 4 likes
    Go on then. As it's Friday you can have my "Getting There" shot of the first gloss coat on the back
  43. 4 likes
    First coat of lacquer on the front & headstock Hopefully I'll get the rest of the neck detail sanded tonight and get some lacquer on it Shiny!
  44. 4 likes
    Sanded down, masked up and ready to dye the back tonight
  45. 4 likes
    So I had some annual leave building up so took a couple of days off last week. Three days of making sawdust - heaven! I've been working on the round-over of the edge of the body (drop top?). I'd previously carved a 60° facet around the edge, fitted the binding and scraped it to the angle. Next I did another facet at about 80°... I may have invented a tool here, a contour marker... ... which I used to mark lines at 6mm and 2mm - a 1:3 ratio Then carefully used the shinto rasp, cabinet scrapers and sanding block Skip forward about 2 days of sanding... ... and it's getting there. The light through the garage window is ideal for spotting ridges & scratches I've not taken a photo yet since I've got it down to about 600 grit. There are still a few scratches to go, but I'll wait until I've done the rear access panel before going too mad. Anyway, I'm rather pleased. I didn't think I was capable of producing work quite to this standard (though I do say so myself! ), so I've had to raise my personal bar a bit. In light of that, I did fix that slightly dodgy binding on the heel of the neck (if you can remember that long ago) with a spot of acetone (no pictures yet, it's still mummified)
  46. 3 likes
    well getting closer to the dangerous part. Made the headstock decal, aplied it and started shooting shellac all over the guitar: here's a closeup of the headstock: I need to find something better to spray this stuff, I'm using this strange aerosol can that I can fill with air from a bike pump, I think this was working ok in the past, but now the atomization is poor and half the shellac is dripping from the nozzle onto my hand. I did clean the cap thoroughly so I don't know .. Looks like I'll need to figure out a better setup. I was trying to level the shellac with P220 and started to go through the paint in places, fortunately I noticed early. I did level the worst nibs fine, so I think I'll leave it at that. I'll try to paint/wipe and extra coat of shellac or two maybe. Then I need some better weather (we had a horrible 2-week heat wave and now its supposed to rain for a few days) for spraying the aerosol 2k that I got. I have 2 cans, so the plan is to do 2-3 light coats from the first can (until its empty), then wait 24h, level with p600 or thereabouts and shoot the second can before 36h pass from the first spraying. I understant this should make the coats melt together. Meanwhile I started on the pickguard - here is my fancy new router table: I need to work on extraction a little, right now the whole workshop is covered in this small black&white bacon ... Here's a test fit after laying out and cutting the neck "pocket"
  47. 3 likes
    I found some figure beginning to show up and put a bit of mineral spirits on it to see how it might look further down the road. SR
  48. 3 likes
    I'm sure that y'all are probably tired of seeing this one, but I just got my professional photos back from the photographer and wanted to share them, promise this'll be the last time showing this one haha.
  49. 3 likes
    Reasonable amount of progress on this: Got the custom magnetic coils and the piezo / magnetic mixer cum preamp: Which meant I could route the indents in the back of the fretboard: Which meant I could glue the fretboard on: Which meant I could start carving the neck: What I like about the evolution over a few of the last builds of the 'scoop the back' approach and the 'it doesn't matter what the hell you do with the body as long as the neck is sound' approach is that you can get a super-slim transition between neck and body: ...and you end up with a super-light instrument. Seems to me to be much more effective than conventional chambering. Bearing in mind this is a very large-bodied, long-scale, single-cut bass made out of rock maple, sycamore and ebony, the total weight is going to end up pretty much spot on 7lbs...
  50. 3 likes
    To be fair, credit should go to the Hall brothers for their millwork and detailing. The Greenes simply designed and oversaw rather than being the wood butchers. I've done a fair number of replica pieces, albeit mostly in Birch. Thorsen House dining room china cabinet: