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  1. 3 points
    Mockup Time! Still several applications (guess "coats" doesn't work) of Odie's Oil to go, but had to do a mockup to confirm bridge location and nut height (more honestly, to drool over my own build, and get a sense for balance and feel). Looks like weight will be a little over/under 8 pounds (3.65g). I wasn't really shooting for light weight, though Limba IS a light wood, but wanted a full 2 inches (51mm) of body thickness. I could have thinned the body, made a larger controls cavity, or even taken off a tummy cut and arm contour ... but that would have made it too "stratty" (thought that might happen on Padauk Mt.Fuji #2 ).
  2. 2 points
    That's a trick question.....and it answers mine. Unless you are like my buddy @pauliemc over in Dublin and marry a rocker chick, then the answer is: of course not. At least for the first several years. Once you've been married long enough (to start getting on each other's nerves---er, I mean to be completely comfortable with each other), they start looking forward to you having another room (garage, closet, shed, back porch, or as we sometimes see here, balcony) where you can go and spend extended periods of time building guitars (staying out of their hair). It's a worthy goal. SR
  3. 2 points
    ...Meet the Brollichan. It's still rough in places but getting there. Very pleased with the deep cutaway. Might encourage me to play up there more.
  4. 2 points
    On the bright side, I've decided to move forward with the renovation of my childhood home. It will be the biggest project I've ever done I suppose. I have some very interesting architectural features in mind. Outside, it will look like any other old fashioned house built in the 50s(It was originally a family residence on an Air Force base before my Grandfather bought it at auction for my Mother to have a home to raise us in.) Inside it will be very interesting I hope. Anyway, I intend to level it and put more support underneath this Winter while the snakes,wasps,etc are not an issue and I'll start in earnest after that. Probably around January. I have no good memories of that home. My sisters and I always hated it there. My Mother was a dreadful housekeeper and my sisters and I would never invite friends over because we didn't want them to ...well, even now I don't want to say why. My Mother signed it over to me some years ago. I think it was her way of trying to make up for blaming us for everything bad in her life, and I am the only one left who isn't a junkie, since my little sister died of cancer a few years back( as you may recall.) I intend to change the memories of that house. If I can turn that place into a cheerful home that honors the gift my Grandfather made to us, well then, I can do anything. I intend to post pictures. I will cover the entire project in here.
  5. 2 points
    Finished: Custom 8-string KR3 - Buckeye Burl top on Swamp Ash body (wings), Wenge/Maple 3-piece thru-neck, Marblewood fretboard, ABM 3210s, Hipshot Grip-lock, BKP Painkiller (custom 16 degree baseplate) w/ aged cream coils...
  6. 1 point
    So my latest home project has been installing dimmers on the lights and replacing the bulbs with 100w equivalent LEDs. I'm really liking the effect I got the dimmers that look like normal switches except they have a slider beside the toggle. I can turn them down at night when watching TV or leave them halfway up for a more normal lighing and then crank then when I need to see anything, but I try not to do that because it causes more work you know dusting and vacuuming.
  7. 1 point
    I did, but I think the muscle relaxers had something to do with it as well.
  8. 1 point
    Do you think if I was married, I'd have the time, money or space to build a guitar?
  9. 1 point
    I see you share @Andyjr1515 's propensity for using the wife's in the house spaces for building and finishing. Do you wait till she is out, like he does, or are you just adept at dodging low flying toasters? SR
  10. 1 point
  11. 1 point
    It's looking good from here I think a kit is a great way of easing into building - and there are some really nice kits around. I agree that I've also never seen mahogany that colour, but as long as it does the job. Also the veneer looks really nice and well applied. 0.6mm is the standard thickness for veneers so this is a decent jobee
  12. 1 point
    Gotta love what oil does to wood! SR
  13. 1 point
    All the woodwork, or at least all the woodwork I can foresee, is done. I've drilled a channel for the wires from the piezo bridge, and a hole for the piezo jack. Now, the first coat of Crimson Guitars finishing oil. Hoagy is starting to come to life! Before: After: And to be honest, it looks golder in real life. And before anybody says anything, don't panic - the used tissues went straight into a bucket of water out in the yard.
  14. 1 point
    It's worth remembering that a locking nut means also needing a fine tuning mechanism at the fixed bridge/floyd-type trem end. Again, for a 7 string, these start getting very scarce in terms of choice and often are quite expensive. The alternative is standard nut and locking tuners (although many players don't even see the need for locking tuners). We should all stress, by the way, that what we generally put forward in these kinds of threads are thoughts to consider or elements to dig a bit deeper into. We rarely say 'you should do this' or 'do it this way' - and there are many things I personally share that I preface with 'I don't know if this is going to work so please don't assume I do!' What you'll find the folks around here can do - and willingly do - is to share the things that have worked for them, share the disasters (and we ALL have them) and share the 'conventional wisdom'. But as @ScottR wisely says, don't worry too much about breaking the rules. It is, on the other hand, worth pondering why most builders tend to do similar things in certain situations - there's often a good reason
  15. 1 point
    Ok, time for some thread necromancy wow, this really is from 2014... ? ... ? oops So I'm bringing my "tone" investigation back to life. It got interrupted because I couldn't get consistent results and didn't understand why. At some point in time I think I did manage to figure out what was happening there. In short: My main idea was to try to see if I can find some numerical differences between the string overtone decay rates when comparing the Schaller Hannes bridge and some cheap hardtail. In the end my main problem appears to be caused by me having reused the same set of stings for all measurements - the idea was for that to ensure consistency, but it ended up messing everything up because the strings got deformed at the saddle break point and due to different mounting this kink then ended up in the "active" (vibrating) part of the string when swapping bridges, causing totally unpredictable results... We'll I'll be more careful this time. Right now I'm trying to again establish the framework, including verifying various assumptions that I'm making. The main idea is (repeating some of the stuff I was mentioning earlier) that to study "tone" one should look not at the spectrogram (frequency content) of the sound of a plucked string, because this will depend strongly on a number of factors like type of pick, picking position, picking strength, picking motion etc etc Instead we should look at the time dependence - how fast the individual overtones decay. This is largely independent on the initial conditions (picking) as the decay speeds are at the end of the day the result of properties of the guitar-string system itself. So is it really them that define the "tone of the guitar". In such an approach where I decouple the initial conditions all experiments are much easier (no need so special jigs to replicate series of identical string plucks), plus I also take all electronics out of the equation (except for things like the magnetic field of the pickups influencing the string motion, something that we already discussed in this thread and something that I plan to address at some stage) - I'm really looking just at the string vibration itself, the source of the sound. Pickups come in later and shape it. So what's the plan now? I'll try to release this as a series of youtube videos, and possibly also a write-up of some sort. Plus regular updates and hopefully discussion in this thread. I'm nearly done with the opening part, which is experimentally demonstrating that indeed the pick attack doesn't influence the results. Then I have a series of simple comparisons lined up - how the sound changes when changing fret material, nut material, string gauge .. maybe a few like that, before I'm confident I can attack everyone's favorite - wood choice. More soon
  16. 1 point
    My back feels much better today. Was able to go in and do some welding. At this rate,my welding rig will pay for itself before the year is out.
  17. 1 point
    Hi, Liquorice. Welcome to this great forum I suppose my first question would be whether it is the functionality you are not sure about, or the look - or are you trying to produce an exact replica? Functionality-wise, the two things that I personally would normally be thinking about are: Can I achieve straight string runs? Will it fit in a 'standard' commercial case or gig bag? If it's a yes and a yes, I would then ask myself: And does it look OK with the body style? And if that's yes also, I would be a happy chappy Generally, if I'm basing a build on an original, I aim to build 'in the style of' rather than exact replicas . As long as it's not a commercial venture, the big boys wouldn't normally pick fights with home builders anyway, but it is worth remembering that logos are almost always trade-marked and, interestingly, headstock shapes often are too. And anyway, my aim would be to try and build something better than the original - so why wouldn't I want to put my own spin on the headstock shape? So, unless you really do want an exact replica, I wouldn't worry about it. If it looks good and is going to function OK, then all is well
  18. 1 point
    If Ironman decided to buy himself a guitar, I reckon he'd go for this one. Looks great, well done
  19. 1 point
    Hi Liquorice, welcome to PG I'm a first time builder too and I completely understand that disheartened feeling that you can get sometimes. I think you've come to the right place - I was new to this when I signed up here a year ago and in that time I've learned more from these guys than I could from a huge pile of books (hoping to finally finish my 'V' before Christmas!) Just keep checking out these guys' projects and see how they work and it'll answer questions you didn't even know you had to ask yet. But definitely keep at it, it's incredibly rewarding and addictive and those disheartening moments will become fewer and further between. Regarding your Ibanez style headstock, are you using a CAD program to help you design your guitar? I ask as you referred to a 'dwg-drawing', I wondered if you were using AutoCAD or something similar (DWG being an ACAD file type)? If so could you plan out hole positions of the 7 tuners, the centreline of the guitar neck and body, and then sketch by eye the outline around the string/hole positions? the shape wouldn't be identical to the Ibanez that inspires it, but you can get the 'balance' right and I always think it's those little variations that make guitars inspired by others more individual. If I've got the wrong end of the stick and you aren't using any CAD software, I'd recommend trying it. There are some excellent free programs out there (ie the awesome Fusion 360) that really help when designing intricate stuff like guitars.
  20. 1 point
    That, to me, looks like a classic case of feeding the workpiece into the rotating cutter such that you're routing 'uphill' against the grain of the timber. There are ways of strategically changing direction when routing that will minimise (if not eliminate) this from happening so that you only route 'downhill', but you do need to work with cutters that have bearings on top and bottom. I made a brief write-up about this topic a while back. You may find it useful for future reference:
  21. 1 point
  22. 1 point
    Sorry to hear about your friend, Mike. There are so few people these days worth calling a friend...it's a real shame to lose one. I still think of my best friend in High School. I only knew him for four years before he died, yet twenty years later I still miss him. I spent all day today taking muscle relaxers and resting my back. Have to go do some welding tomorrow with my truck, and I can't miss out on the money. My Xbone X came in today. Pretty nifty piece of gear.
  23. 1 point
    @mattharris75- i stopped short of congratulating you in the post. But- after having to call and congratulate some good friends of ours on their win (they are alumni too -we avoid each other though when auburn plays georgia)- anyway- congrats- your boys showed up and kicked ass. I think it was a good thing though for Georgia to lose one- and lets face facts- you guys have been the only real competition we have faced all year.
  24. 1 point
    Very nice. Appreciate all the great pictures. I really enjoyed following the outside the box aspects of this build.
  25. 1 point
    I guess that it's bad enough that we fuck with you, never mind your own head doing a number on you eh?
  26. 1 point
    Damn, got word today another close friend passed this weekend. Getting older sucks, friends start dying, your body revolts on you, your mind fucks with you. Well, I guess the alternative is someone letting you all know I'm gone. Hopefully that is a long long time from now.. Peace All, MK
  27. 1 point
  28. 1 point
  29. 1 point
    I say go for it too. How many times have you heard older (more experienced) folks say I regret more the things I never tried than the things I have tried and failed. Do yourself a favor, and do some endurance training before you go. Walking up and down mountains takes a lot of effort and the air is damn skinny up there. Also when you are in them, mountains grow taller every time you turn your back on them. SR
  30. 1 point
    Possibly he is cheating by being able to pull off these glorious glossy finishes with a brush? The preferred method is always the one you do best. And Andy, you make these look superb doing it the way you do. Wasn't that a Motown hit back in the 60's? SR
  31. 1 point
    Regardless, you're nothing short of being an absolute trooper for pulling off such excellent gloss finishes with brushes. Truly outstanding, and it makes those of us that spray or rub feel like we're cheating somehow.
  32. 1 point
    Once it had fully dried, I still wasn't certain about the gloss so I've given it another coat. This time I added a teeny % (8% max) of mineral spirits to stop the brush drag and make it level a bit better. You know, this new formulation REALLY doesn't like being thinned. It ended up just about OK but I think I'm going to contact the manufacturer's technical department and find out what thinners they recommend... Gosh - could I be looking at not using standard polyurethane varnish in the future???? Anyway, this - I am sure - is good enough to polish out the micro brush marks once it's fully hardened. It doesn't bear close examination until then but it looks fine at a distance While the gloss is curing, I can still get on with the finishing jobs...which is what I'll do next, starting with re-seating a couple of dodgy frets and levelling / crowning / polishing and fret-ending
  33. 1 point
    Looks fantastic! Your original did too though, so great job both times!
  34. 1 point
    Re-sanded back through from 150 grit to 1000. I definitely think that a second fill with water-thin CA will help tidy the outline. Otherwise, this is super tight.
  35. 1 point
    Am I right in thinking that parallel port driven machines are still king?
  36. 1 point
    Glued the bridge plate/pickup ring yesterday ... After a bit more sanding, locating the bridge, and a few final tweaks, started to apply Odie's Oil. It's become a little cooler, so this stuff is thick. But as instructed, using a little abrasive pad (not sure, but #1500?), it starts to work into the wood. I knew the Limba had some interesting things going on, but the oil really brings out all the wood "eddies" ... Cool!
  37. 1 point
    so cutting the time did work. they both tasted better- but the aroma was not much improved. my Bulldogs didnt show up today. urf. but the beer was flowing- first up- Shploing! from Omnipollo out of- Sweden. 7%ABV. I was going to pass on this but the youngins at the store when on and on about it. So- the description on the can- Mango Smores. Hmm- Mango usually means smells and tastes like sweaty armpit, and smores, in an IPA- well- that is just weird. Maybe in a stout- but an IPA- hmm. Well- its actually not bad. Would I buy it again-no- but glad I tried it- and its really isnt bad. better tasting that the description. next up- from Nowhere in Particular brewery out of Ohio- Batch 014 double dry hopped pale ale. 6% this stuff is not bad. nice lemony citrus blast- smooth- very drinkable. I have never seen this before so I took a shot. Glad I did. took a chance on this one- couldnt find it in Beer advocate but always willing to try locally brewed- Oconee Brewing Lion Lamm IPA. Well- glad I tried it, wont be buying it again. with the exception of Creature Comforts- I really havent found great beer in Georgia. I keep looking- but - well- just havent found it. .
  38. 1 point
    Going back in Time. The first 3 pics are the original machine built back in 2006. The final pic is where I am at now. Still a lot to do but getting there.
  39. 1 point
    I've also successfully steamed the dents out of the back - thanks Mr Natural and Charisjapan!
  40. 1 point
    Welcome! I’m relatively new myself and on my first scratch build guitar ... after a kit guitar and a short scale bass. Do try the iron thing ... I just did on my Limba 6 build, and it works on anything short of a bona fide gash. cheers!
  41. 1 point
    yes- welcome and you are awarded bonus points for a foot shot without even knowing it was a "thing" here. for those dents- you might want to try and steam them out- that with a little bit of sanding might all but eliminate them. perfect learning opportunity! if you dont have a steam iron- you can simply put a damp folded (several layers) paper towel and touch a soldering iron to it- get that steam into the dent. you will be surprised how it works- especially if that wood is a bit soft.
  42. 1 point
    Welcome and congratulations on the early foot shot
  43. 1 point
    I've seen light mahogany before but nothing like that. Sap wood maybe, but there is not enough sapwood generally to get a guitar body out of. Must be a "generic" mahogany. S
  44. 1 point
    I end up barefoot during a lot of my building sessions....and what we do is magic. And it seems to be almost impossible to post without capturing a foot at some point or another. You just got it out of the way right off the bat. Cheers! SR
  45. 1 point
    Here's a video I did some time ago about a guitar I built for my daughter's 7th birthday. Initially I didn't post it here since I figured this is not really the target audience, but then maybe somebody will find parts interesting or amusing. Also I watched @sdshirtman 's videos and figured why not (BTW where is part 6 of the Helix build??! ) So just a word of introduction: I tried to film every part of the build process. Some parts are missing, mostly tedious jobs like sanding etc, also I think I lost a clip or two - but in total this was something like 9h of video material that I compressed into 13 episodes of around 10-15 minutes each (mostly by speeding up the footage). There is a lot of narration because the aim was for the video to accompany the guitars, i.e. I'm explaining the build process in a way that someone with no idea about guitar building could understand. Possibly even a 7-year-old. Also (as I keep stating in the video), this is not a how-to, it's more of a "proof that you can build a guitar in the kitchen" video. I'm probably doing some silly things here or there, but the end result is perfectly fine. Oh, and it's all in Polish - but I subtitled the whole thing in English. Anyway, here's the playlist with all episodes:
  46. 1 point
    Ah, a barefoot magician, a man after my own heart. Welcome! It certainly looks and sounds like you know what you are doing. I'm looking forward to seeing how this turns out, Any chance of getting a shot from the back so we can see what your yellow mahogany looks like? SR
  47. 1 point
    Hi I've only just picked this one up - apologies for the delay. To radius or not is one of those topics where there is probably no definitive answer. Most - but not all - commercial acoustic steel-string builders put a spherical radius on the top and the back. 'Typically' this is around 25' radius at the top and 15' radius at the back. However, from the various reading and discussion I've had, I've never been convinced that there is a concensus as to the actual and proven advantages. The great majority of acoustic builders follow pretty closely the 30's (?) Martin dimensions, radii and bracing patterns. I'm sure Martin did a lot of trial and error builds before they hit on that particular design, but again - as far as I can work out - many modern builders generally work on the basis of 'it works alright then why change it?'. I HAVE seen detailed scientific studies of harmonic response of various top and bracing designs, but I haven't personally seen any similar studies of flat vs radiussed. So my own personal views: There are one or two noted manufacturers that do flat tops. As far as I know, all classical guitars have flat tops. So, personally, my view is that it sonically it probably makes little difference. The only thing it might do is 'tension' the top as you would tension a drum skin. The back does pretty much nothing sonically on an acoustic guitar. Hence the simple bracing. It is there for volume projection and unlikely to be impacted by the radius. You could argue maybe that it 'focuses' the sound like a headlight reflector...but I think that is unlikely Brace design, node position, top thickness, top wood, etc, however, does make a HUGE difference to the tone. I do 'tap tuning' personally and have had enough success to know that it works; I absolutely don't understand how to optimise it, though! Having said all that, do I radius the tops and backs? Yes And why is that? Because for the first build, I followed a plan that had radius in. And it worked. And it sounds great. And for the second build...I did it because I'd already made the radius dishes and - well, it worked for the first one, so why risk changing anything else? Maybe not very scientific, but reasonably pragmatic! But - the build challenges. Well....most of the REALLY difficult parts of an acoustic build are directly or indirectly caused by the radii. And remember, classical guitars are flat. And they can project beautiful tones in an unamplified auditorium. So maybe my reasoning is not even pragmatic Hope this helps Andy
  48. 1 point
    "Hi, I´m Sebastian, 31 years old, living in Germany near Cologne. I have started building electric basses 2 years ago. This one shown here is my first electric guitar. As most of us, I'm already completely obsessed with the topic. Currently I'm building in a small 4sqm cellar room at home. My past and actual build projects are shown on my Facebook page. Do not hesitate to have a look and to tell me what you think: https://www.facebook.com/KaemmerGuitars/ 'Model 222' is a special guitar dedicated to a special person. On February 22nd my first son was born and my grandfather died. With that in mind I've designed and built this guitar with great passion and dedication. The idea of the design was to combine the following aspects: classical, but not a thoughtless carry over of old habits elegant appearance, but not overloaded ergonomic playability and lightweight, without a "freaked out" ergonomic shape expressive and flexible tone range Building time: 02/17 to 08/17 ProjectGuitar.com forum thread of the building process 'Model 222' specifications in short: Scale length: 25.5" Body: Mahogony, chambered Neck: Mahogony, 3 pieces, scarf joint headstock Fretboard: Mahogony, 12" radius, hardened, pore filled and lacquered Top: "flamed" pear wood Pickups: handwound Tuner: Schaller M6 Bridge: Hipshot hardtail, string through Nut: Bone, compensated Pickguard: Aluminium Finish: 2K PUR high gloss Total weight: 2.9kg / 6.4lbs ---- Flamed pear wood top Mahogony fretboard Custom '222' inlay at the 12th fret, aluminium fret dots Aluminium pickguard ---- Drop top at the armrest: Thickest part of the body is 37mm ---- Custom control knobs recessed in the aluminium pickguard Volume pot with push-pull for SC split Tone pot with push-pull as cap switch (gives a warmer, mellower mid range tone) ---- Contour shaped backside for a pleasant feeling Matched electronics cavity cover ---- Three piece mahogony neck, the middle strip is turned over for a improved neck robustness towards weather changes Asymmetric medium v-shaped neck profile Scarf jointed headstock with volute and veneer on the backside ---- Compensated bone nut Matched headstock veneer Aluminium trussrod cover Photographs made by Martin Christ ---- I've filmed myself assemblying the guitar and made a short time lapse video of it - enjoy: Let me know if you like the guitar. Best regards! Sebastian
  49. 1 point
    "For those that might not have seen my build thread, I built this guitar in memory of my firstborn son Chris who passed away 7 months ago, Feb 18, 2017. He was 24 years old. The guitar has special inlays on the back that represent tattoo's that my son had on his chest and shoulder. A Phoenix (mythological bird) symbol, and an Aries (ram). Chris was an Aries and we both have Phoenix tattoo's on our chests for personal reasons. Also smaller versions of each on fretboard and headstock to match This guitar is named "Phoenix" The model is one of my own designs, called "24 Magnum". Its my 12th build to date, I build in my garage/shop at my home. This model, as with most of my builds, has the following notable features: Neck-through-body construction 3-piece laminate neck (all mahogany) carbon fiber neck reinforcement Specs: 25.5″ scale length 24 stainless steel frets 12″ fretboard radius Genuine South American mahogany ( Swietenia macrophylla ) body and neck Bookmatched, flamed maple top Ebony headstock overlay Natural “faux” binding Macassar Ebony Fretboard Original Floyd Rose Tremolo w/ tungsten sustain block Custom white mother-of-pearl phoenix 12th fret and Aries headstock inlays Custom white mother-of-pearl in ebony Aries symbol inlay on back Custom paua abalone and select blue paua Phoenix inlay on back Planet Waves 3×3 locking tuning machines Seymour Duncan pickups – Custom Custom (TB-11) bridge, and Sentient neck 5-way Oak Grigsby super switch (n, n-split, n/br, br-split, br) CTS pots, orange drop caps Nitrocellulose Lacquer The photo of my son Chris is included to show the tattoo's on his chest and shoulder that are the inspiration for the inlays....
  50. 1 point
    The person with the most clamps wins.
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