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Showing most liked content since 02/14/2017 in all areas

  1. 2 likes
    Hi Yes - me again. And Pete again!! For those who haven't seen the other threads, Pete is our old-blokes-band's bassist and, for reasons that I don't fully understand, is my best customer. I can only assume that the low frequencies and our band's general bad playing has somehow shaken up his brain cells to the point that he can't differentiate between properly made instruments and my hobbyist efforts Hmmm.......or that he has realised how much cheaper my efforts are.....and that he can always get them fixed if they ever go wrong (which happily they never have yet)...or that maybe he's dating MrsAndyjr1515 while muggins is down in the cellar wading through sawdust.... Anyway, so far I have built him a Jack Bruce Warwick-style fretless bass, an SG-style 6-string electric and an EB3-style fretted bass. And now he wants me to build him a piccolo bass! So, first question to ask, 'What's a piccolo bass?' OK - there are multiple answers to that so, to cut to the chase, this is what I'm going to build him, whether it's what he's expecting or not: A guitar-sized bass, pitched at an octave higher than a normal bass, which makes it, essentially, a 4 string guitar To try to get a non-electric guitar tone: going for a single, mid-biased rails pickup in the neck position; multi-scale (26" at bass side and 25" at treble); flatwound strings Figured walnut top, with teardrop f hole and chamber; mahogany wings; maple and mahogany laminated through-neck; snakewood fretboard; 24 frets Here's broadly what it's going to look like (I'll actually reduce the angle at the nut and increase it at the multi-element bridge: Here's the top: ..and the main components with the neck splices cut, waiting gluing together: I'm looking forward to this one...probably in the same way as a small clueless child might look forward to scouts forest trip on the outskirts of Mordor.
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    Progress has been pretty slow of late. One of the reasons being our latest aquisition For any VW buffs out there, it's a 1979 Devon camper, mostly original, including the 2.0l T4 engine. Anyway, enough derailing my own thread
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    Building the Fauxeana has been so much fun that I decided "Why build one when you can have two at twice the price?" So, I present the beginnings of my Fendrish Limited Edition American Nonstandard Offset Telebastard 3-piece swamp ash body blank Roasted maple Warmoth Tele neck Single pickup: humbucker in the bridge Led Zeppelin IV album pickguard Olympic Girl (white) wudtone finish
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    As curtisa says, if you are still in the design stage, you can just change the placement of your pickups. If where they are is integral to the design you can move your bridge back and the neck / fretboard will need to come that way as well to maintain your scale length. And the gap will be closed. And to answer your second question, no it will not hurt a thing to leave everything just where it is. There is a ton of voodoo out there as to where the sweet spot for pickup placement is...where they are in relationship to the nodes of the vibrating strings, but voodoo is all it is. The nodes move every time you fret a string. SR
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    Just came across these videos of the Marleaux Soprano bass. Maybe this project isn't so crazy! Now I want one...
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    So, I haven't posed a build here in a while. figured i'd post this one as I think it's rather fun. Got the green light to start the build early January. been prepping stock and waiting for parts to come in since (had to buy some stuff from china to save $$$). Specs are pretty simple 22-3/4" scale length. maple / wenge neck Alder body black hardware SPIDERMAN theme... cuz my little guy's crazy about Spider-Man. more to come soon.
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    Excellent job on some very twiddly work. I'm pretty sure that would have made my eyeballs twitch. SR
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    That's awesome! Congratulations. I recognize the shadow of your head from your avatar. SR
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    Haha! Guilty as charged (I do try to make a habit of backing the blade off) Come to think of it, I had better go make sure the planes are on the till/shelf ... we've had a couple minor earthquakes this past week, and my waxed tools have a habit of wandering around a bit.
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    Lovely work with the boards, but sorry I have to mention - that's the second photo you've posted of a plane resting blade side down. I always lay mine on the side when not in use, to avoid damage
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    Well, with the normal warning that these threads are always simply about how I personally go about things and never that this is the way you should go about things, I'm into totally new territory: multi-scale and hand-cut fret slots. First I got into some decent light...I thought I'd give daylight a try for old-times' sake. I clamped a ruler to the fretboard to the workbench, at the angle that the strings will run at and starting at the angled nut position: Then a double-check, triple-check, quadruple-check measure against the treble scale and a sharp tap with a hardened metal point: Then ditto for the bass string run. Then clamping with a squared piece of wood, that has been cut at a height to allow 3mm blade exposure, using the saw's blade clamp strip to prevent the blade cutting too deep: Then gentle sawing against the wood block until the slot was formed, then hard sawing to depth. Snakewood is VERY hard...this is my exercise for the week sorted! And, if I've got everything correct...this should be a 26" to 25" fanned set of slots!: Only time will tell... And I must be losing my touch...that felt relatively conventional
  12. 1 like
    Cheers Retuos! I probably should have noticed this thread before my last response in your previous thread. I'm looking forward to seeing this thing develop. SR
  13. 1 like
    Hey Retuos, Nice that you started a build thread! About that bridge, you may want to extend the high-e forward a bit more. On any of my guitars, the typical spread between low-E and high-e is about 3~4 mm, the low-E the most back, and the high-e the most forward. but if you measure the actual scale nut-to-12th fret then 12th fret-to-saddle, the A-string is probably the closest to being the same. So your high-e should be more forward, or your low-E will be too far back. The actual travel of that bridge is only about 10 mm, even though there appears to be more screw left, the spring starts to bind and the saddle would go behind your string-through hole. The high-e saddle should probably be more like 90% or even 95% forward. What is the measurement from the nut face to the center of the 12th fret? The measurement from 12th fret to the actual touching point of the A-string saddle should be about the same. (I hope this makes sense to you)
  14. 1 like
    You don't need to dye and sand back to get a nice top, this one was one of my mixtures that's just straight purple, with no dye dark and sand back.
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    Nvm. Going with a router jig... hope it's true enough for rock and roll. ;-)
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    Ahhh - a conditional condition. Hmmm this unconventionality is trickier than I thought....
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    Go to the first post in your thread and hit the "Edit" button in the lower-right corner. Should be able to change the post title from there.
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    If you anticipate that you'll use this thread to post your progress on your build, then yes, we can leave it as-is. If you'd rather use this thread to discuss the technicalities of how to do something (as we have been doing so far), then there are other areas of the forum that will better serve, if only to keep things looking neat and tidy on the forum. Entirely up to you.
  19. 1 like
    Thank you kindly, gentlemen. I'm rather pleased with it myself. SR
  20. 1 like
    You usually end up with a stair-step look. B is a little further back from the high E, G a little behind the B, A even with or a little in front of the G, D a little further back and likewise with the low E. You can set them up that way to begin with if you like, but you are going to move them all to intonate once the build is done, assembled and strung up. The only important thing to do first is get your bridge located properly for your scale length. SR
  21. 1 like
    I like to pop it, but no you do not have to to get a great look. And every coat of dye you add makes the darker areas even darker. Highly figured maple is an absolute joy to dye. As I am wont to say, everyone should try it once! And perhaps the best advice I can give you is to practice on scrap first. It will give you a great idea of how your maple is going to react. SR
  22. 1 like
    Cheers Scott. I raise this beer in yours (and your guitar's) honour. Good work.
  23. 1 like
    That, is one beautiful guitar there @ScottR. I'm jealous!
  24. 1 like
    While waiting for the postman (to deliver the veneers for a LP-style guitar I'm customizing), I dared to do something I had in mind for a long time. Just tried to fill an inlay using the Stewmac "Super glue & soda trick". The problem is I had no soda so I've tried with some flour... Didn't expect too much from this experiment, but I have to say I'm quite happy with the result... it doesn't look like MOP, of course, but I like the vintage/grungy color, it fits very well with the design and what I had in mind. These are some pics:
  25. 1 like
    A good build thread never gets old! How thick was the top you used on Justin's guitar?
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    That's how I do it. Clamp the two pieces together face to face, so that you're sanding both edges simultaneously. You should be able to get a perfect join with a bit of patience.
  27. 1 like
    Thanks Scott I wasn't sure if i had to pop the grain or not I've seen some people say yes then others say no. Also that is one awesome looking guitar!
  28. 1 like
    That sounds logical doesn't it? In reality, intonation almost always involves lengthening the scale--pulling the bridge saddles further away from the nut. When fretting, you are stretching the string slightly out of its plane at rest to reach the fret. Stretching a string makes the note higher-sharp just like bending a string does. To compensate for the sharp you increase the scale length. In general terms the greater the diameter of the string and the higher its action the longer the scale adjustment needs to be to intonate. That's why you see the Tunomatic bridge on a Les Paul and the saddles on an acoustic bridge angled away on the bass side of the bridge. I like to set up a bridge by moving the high E saddle 75%-80% of the way forward in it's travel and then mount the bridge with that saddle at the exact scale length from the nut in that position. That leaves a little adjustment forward in the rare event that it is needed and most of the adjustment away from the nut where it is certain to be needed for the remaining strings. Does that help? SR
  29. 1 like
    Thankfully, I have CatBlock installed in the browser
  30. 1 like
    Don't worry, Scott, that's something that I've already thought of. I'd call it the "Crackle Splat" finish. I'd charge double just to help pay for the multiple scotches I'd need to consume to calm my nerves afterwards.
  31. 1 like
    Good call. I couldn't remember if you had one of those. I don't, but I'm pretty sure I'd like it if I did, SR
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    Its been awhile. Here's some pics of that hickory guitar and where I'm at now!
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    Some more time to spend in the shop, so I started the tailpiece. Cut with the hacksaw, additional shaping with files, drilled with my son's help (one hole is a bit off ) and bent with a mallet in small steps. I will whack it a few more times before actual assembly, but this is reasonably close. Now I can route the inset area for it. Did I manage to bend it backwards? Absolutely...I'll have to recess the holes from the other side too. I could say that someone was talking to me while I was working, but I won't, since she might read this at some point... IMG_20170215_115434 by Goran P, on Flickr IMG_20170215_123836 by Goran P, on Flickr IMG_20170215_141514 by Goran P, on Flickr IMG_20170215_142830 by Goran P, on Flickr IMG_20170215_210547 by Goran P, on Flickr
  36. 1 like
    I actually like the way the padouk only shows through the top on the hips, instead of all around (except the cutaways). It plays with the outline in interesting ways. For fingerboard I second the ideas above - I'd personally consider one of the three - black ebony to contrast the rest, padouk to match the .. padouk and maple but straight maple, not busy maple.
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    I can imagine the carve, but can't see it. Do you have an incandescent lamp or trouble light? Set it off to the side only a bit higher than the top ... and for real drama, turn off the overheads. Wanna see!!!!
  39. 1 like
    I've resawn a figured top by hand once. I bought a bandsaw shortly afterwards.
  40. 1 like
    I've got my money on knowing why it happened. Here's what I did. 1- Pulled it out of the oven... got really excited 2- Went straight to the sander to level the faces (more heat) 3- Went straight to the resaw and cut it down the center thus releasing the inner core to the cold in a rather quick and drastic fashion I'm sure I could avoid any and all non-permanent warping by simply adding some patience hahaha. Chris
  41. 1 like
    Wow! A pine bodied guitar, with a natural finish that looks stunning! So clean! And P-90s to boot! I'll bet it sounds amazing. You need to get that into the GOTM. SR
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    Young Lizzy One piece myrtle burl top. Keruing body Two piece figured jatoba neck Ebony fretboard and HS cap Gotoh 210 Delta tuners Babicz bridge SS jumbo frets Klein high wind P-90s Build thread: SR
  43. 1 like
    So this baritone is finished. I applied Hartwachsöl with a brush, wich left deep streaks. I sanded most of it down and applied next three light coats with a cloth. Should have used a cloth from the start. It takes a day for one light coat to dry in a warm room. That pine is still soft under that wax, so I made a few dings when installing hardware. Luckily they let me burnish them down so they are lost in other little imperfections. On those mahoganies on the neck the wax is awsome. I thought I am good at soldering electronics, but this one was hard. New japanese pot was randomly cutting the signal, it took time to find it is the new pot and not other reused components. I always loose my patience. But it is done now.
  44. 1 like
    Like cj says, the warmth of the neck pickup mostly comes from its position of being closest to the 12th fret, the center point between the anchors of the nut and bridge. At this position the strings are vibrating in a much wider arc or travel as compared to the bridge pickup position. I usually but my neck pickup right against the fretboard to take advantage of that warmth. And like you I prefer the bridge pickup to have a bit more warmth than what comes from the traditional bridge pickup location that is fairly close to the bridge. In fact in my most recent build I purposely moved the bridge pickup further away from the bridge to make it warmer. It is still noticeably more treble than the neck, but not at all shrill: So yes, I'd say they are a reasonable distance apart. And if you moved them closer together, or further apart, they'd still be a reasonable distance apart. SR
  45. 1 like
    Curtisa beat me to it ... I went to get a cup of coffee.
  46. 1 like
    Hey Retuos, As has been said, there are no exact rules for pickup position, "warm tone in the neck" generally comes from being as close to the 12th fret as possible. With a 24 fret humbucker guitar, butted right up against the fretboard is the best you're gonna get. I have a 24 fret SG, and that's where the neck pickup is. You would do well to have a warm pickup, too. What concerns me about your bridge is the outline of a Gotoh hardtail bridge with the saddle line about in the center ... that doesn't seem right. The bridges I have seen usually have the A saddle at about 2/3rds toward the neck. I don't think you can screw those saddles that far back, and the E would usually be even a little farther back than that. Before you decide bridge location, make double-sure where your saddles are at the middle of their travel, and use the A saddle as your point of reference. My SG has the bridge humbucker a bit closer to the bridge, but that is again a personal choice. The closer it gets to the bridge, the more "nasal" the tone, but also less volume, so usually want a higher gain pickup. It's all a toss up in the end, any custom guitar will have its own character. But check that saddle, Correct scale is more important than pickup location! Cheers!
  47. 1 like
    I'm a little surprised that the saddle breakpoint on that bridge appears to be smack in the middle of the block. I'd double check the position of that line relative to the outline of the bridge you've drawn. Typically the high E string will intonate with the saddle nearly fully forward. On a freshy-placed bridge it's unusual for the highest strings to want to intonate by moving further forward beyond this. If anything the intonation point will likely be further away still. Every other string will then intonate even further back from the high-E by varying degrees. If that is the case then you can probably move the bridge (and subsequently the bridge pickup) further back another 0.5" or so. But check first.
  48. 1 like
    Agreed. There is no magic number. The only rule of thumb that I concern myself with is that the more separation they have greater the difference in tone they will have (not withstanding the variances in wind and output inherent in your pickup choices). SR
  49. 1 like
    The controls should be minimalistic, so a tele cavity is just fine. This time drilling the jack recess went well. But I messed up the cable channel from the neck pickup, too shallow angle and the drill bit showed through the top. Silly me. I glued one big chip back and filled the rest. It is just not under the volume knob, it will be visible. Then I rough carved the body to neck joint. Is the shape OK to your eyes? Or should I round the corner below the upper horn? I will refine it after the neck is glued in, but rough shaping is better done separetly.
  50. 1 like
    So I carved the top to a cylidrical section. Radius is about the same as the scale length, 27". Readjusted the neck pocket depth and angle four times before satisfied. Now just to decide knob and jack placement. I like the volume knob right under the center of the bridge pickup, but for most people it stands in the way of strumming. On the last photo there is a pencil line of a planned back contour, but I guess it might be comfortable even without it.