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Showing content with the highest reputation since 06/19/2017 in all areas

  1. 10 points
    Well that went well. Feedback was it sounded clear, deep and punchy. Played well with lovely neck, so can't ask for more. Heres a snap of Marshall I Henry playing it on the pyramid stage! Very humbled to have one of my instruments used here not just in my little studio.
  2. 9 points
    So late last year I started in on a new model based around a Super Strat that I ultimately named the Helix. I wanted to incorporate some things I like in a guitar such as a super thin neck profile, a deeper cutaway, magnetic truss covers and a thinner body and a few other minor things. When I started building the first Helix I broke out the video equipment and documented the entire process. To anyone who's done it you know shooting a build by yourself is a time consuming task. Stopping at each step of the build process to set up a camera slows down the build process considerably. On some tasks it would take me longer to set up the camera than it would to actually complete the task at hand. Over the eight weeks or so it took to complete the build I shot something in the neighborhood of 40 hrs worth of footage. The build was completed late last year but the footage has been sitting untouched on my hard drive for months. With 40 plus hours of footage it was a time consuming task just to roll through and view all the footage I shot just once to see what I had, let alone organize it all and edit it all down to a point to where its viewable. Anyways, after many hours of shooting, months of procrastination and many tedious nights in front of a computer I finally have the first installment complete. Now that I'm at the editing stage I plan on releasing a new installment each week until the series is complete. So with that being said I give you the first 6 min installment of my Helix build series. Part one. ~JW
  3. 7 points
    After a bit more leveling, yet still matte, I had to have a few in the sunlight. This is closer to actual color...but still a bit hot from the direct sunlight. SR
  4. 7 points
  5. 7 points
    Clamps off. I'll take that. It's looking a bit like a guitar now.
  6. 7 points
    Today's job was cutting the saddle slot. I used the Dremel with the precision router base and a 3mm bit: Rigged up a guide jig with thin packers that would ensure that it stayed level and flat when clamped down: Then clamped it, checked it all and slotted it: Drilled a hole from the slot to the cables channel build into the neck and put in the piezo element for a trial fit: Shaped the bone nut blank and strung it up. And blow me! The flipping thing actually intonates properly!!!!
  7. 7 points
    Aaaand back to the body Pickups and neck pocket routed: 1/4" radius for the back: Binding channel (forgot to take pics during the actual binding process): Once binding is done, break out the medieval rasp and companion scrapers: Ok, this one is fully caught up now, minus a few photographically uninteresting stages of sanding. The fretboard was sent off to be blind slotted via CNC, I should have it in hand by the middle of this coming week. Thanks for taking a look!
  8. 6 points
    For this guitar I wanted to do an intricate inlay and I choose one of my favourite subjects: roses. I started making inlays three years ago and it was immediately love with this technique. Most often I do small subjects like logos or writings, so this one is my second full fretboard inlayed. On the twelfth fret I decided to inlay a small ladybug (from which the name of the guitar) to vary a little and to create a colorful subject that stood out on the rest of the inlay. The drawing of the layout is always the most demanding part: I draw by hand, first looking for subjects, then marking them out with a pencil and finally creating the composition. This is a photo of an intermediate phase: frets 1-9 The final result is really similar to those drawing for children to fill with coloured pens When I have the final layout I cut all small pieces gluing them to mop, abalone, recon stones... and I start cutting with a jeweler saw. Here is the ladybug: red recon stone, ebony and white mother of pearl. She has no legs, cause they will be cut on the "leaf" where she will lay and later filled with epoxy mixed to ebony dust. Now the work is really repetitive: cut the piece, glue to mop, cut the mop, file blurry edges and start again. Sometimes pieces are really small! When I finish to cut all the pieces for a subject I glue them together, being careful non to leave gaps between the pieces. In the end this is the final result: approximately 250 tiles. Now is time to route the fretboard and inlay everything: to do it I use a Dremel with an aluminum base. All parts are glued with epoxy mixed to ebony dust which at the same time serves as glue and filler. This required near to 100 hours to complete. Cutting frets on this fretboard was really stressful! I don't have photos for next steps, but I bound the fretboard with the same flamed maple used for the body binding, I installed the frets and finally glued the fretboard on the neck.
  9. 6 points
    Next steps were binding and purflings. To cut the channels with the arm router was an easy task The most difficult part was to cut the channel on the cutaway, because in that position the channel doesn't lay on a plane, but it goes up after the horn and then goes down near to the neck pocket. To achieve it I used this jig with my Makita hand router The channel wasn't perfect, because the radius was too narrow for the jig to work correctly, but after some refining with a chisel it was acceptable. My aim was to do a flamed maple binding and a four parts purfling: ebony/golden mop/ebony/maple. Instead of using Zipflex for the central purfling, I decided to do it the old way, using teflon strips and then filling the resulting channel with mother of pearl strips. This is what I wanted to achieve: First of all I prepared the binding: I cut the maple 1.5mm thick and 6mm large, then I glued a subtle strip of ebony under, so I could have a black purling line between the maple binding and the ash body Now it was time to glue the purflings, using the teflon strip instead of mother of pearl. Teflon doesn't stick with glue, so later it could be easily removed. Then I glued the binding and when the glue was dry I removed the teflon strip. In the next photo It's possible to see the void channel left by the teflon strips and the golden mother of pearl strips that I used to fill it. As I pressed the strips inside the channel, they break in smaller pieces, so they could adapt to all the curves of the guitar: I only had to cut to perfect size the portion on the horn, because there the radius was too narrow to achieve a good result with this technique. Once inserted in the channel, I glued in position the strips with thin ca glue. Now I only had to sand everything flush. The process was long and tricky but I was really happy with the result!
  10. 6 points
  11. 6 points
    In the bright sunlight. And with the first coat of Tru-Oil. SR
  12. 6 points
    Still a lot a details to see to, but I'd say it was a pretty good weekend of work. There is something about the proportions of this that I really like. SR
  13. 6 points
  14. 6 points
    And the 'as near as makes no difference finished' shots. Forgive the self-indulgence:
  15. 6 points
    Looking at the weather forecast looks like I can start spraying clear tomorrow. Meanwhile: I got some Z-poxy recently from LMI to try as a pore filler, since the swirl is going onto the neck on the back and everything will be finished with full gloss clearcoat I figured I need to pore-fill the neck and headstock. Testing Z-poxy - rubbed in one coat, sanded back with P400 the following day, then another coat and sandback. Here's coat nr 2 right after application: Also, pickguard. A weird strat needs a weird pickguard: I'll probably use this as a testpiece before I make the proper one out of plexi - there are a few small cosmetic problems with this one.. but I want to have the guitar ready to play it in a show we're doing on July 15th so I'll most likely use this one then. Afterwards I'll see. Here's the hardware in place - I got 7-string singles wound for me by Zbigniew Wróblewski of Merlin Pickups (merlinpickups.com, a boutique Polish pickup company, Polish bands like Riverside and Vader use these for example). The plan is to connect them in series with an in/out-of-phase option, following Brian May's Red Special wiring, here instead of using 6 switches I can get the same set of combinations with 3x on-on-on DPDT switches. I also looked at the Red Special layout and tried to roughly position the pickups in similar spots along the strings to have similar phase cancelation+enhancement effects, for the treble strings I'm pretty close, then I diverge a bit (I didn't want to slant too much). Finally - a mockup:
  16. 5 points
    Managed to get a quite decent photo of the glow effect on this one.
  17. 5 points
    Recently glued the top on this one and started on some carves
  18. 5 points
    Happy Sunday. Heres my next installment.
  19. 5 points
    Maple top maybe? Project kickoff beer.
  20. 5 points
    Dear super-cool-bass-back's finish... I CHALLENGE TO YOU BATTLE. My weapon of choice? Nature's idea of a super cool finish: ridiculously figured ash! Specs Flamed maple neck with african blackwood rosewood fretboard in 25.5" scale with 'split block outline' inlays in aluminum Evo fretwire 1 11/16" nut First ever Model1 with a bolt-on neck. First ever prototype of my 'Massive Access' bolt-on joint Thinline style hollowed flamed southern ash body complete with east Indian rosewood top with F-hole Gotoh modern tele bridge, hipshot open-back locking tuners, all in gold. Standard telecaster wiring (but with 500k pots and a 470k cap on the bridge pup to make the pots act more like 250ks when in position 1 and 2) with McNelly A5 signature plus in the bridge and "Wild Range" humbucker in the neck. She's already off to her new home... but that home is close so I hope to still be able to get some demo vids done with it. Best, Chris
  21. 5 points
    These three or four simple photos below hide a good few hours of toil First of all, earthing the tuner block. I don't know what other people do, but generally I solder my earth wire onto a small patch of copper shielding to get certain and decent connection without the risk of a lump under the bridge! : Then it was the turn of the battery clip and pots. Here's a shot with two of the pots installed and the slimline stacked pot still to do. These first two were the ones with very small threaded areas - the suggestion from one of the other forums to tap an internal thread in a couple of spare machine head bushes worked a treat: And here we are with all three pots installed. Still have to finish the relief carves for the knobs and install the jack socket but you can see here that, from the back, everything is easily accessible. The pot knobs are very easy to use in this position - even the stacked knob: ...but from the front, everything remains hidden:
  22. 5 points
    It seems the stuff we put on him for fleas, ticks, and heartworms is useless against termites...and boring beetles or carpenter ants. Perhaps it shows a bit, but I'm pretty damn happy about the way his eyes came out. I believe my British friends would say I was quite chuffed with the results. SR
  23. 5 points
    So, based on last week's input we put together a plan of action to get the neck finished off, complete with the fretted and bound wenge fretboard. Over the weekend, we successfully dealt with the first two steps of our plan. We started by rough-cutting the shoulders of the neck tenon at the bandsaw. The neck meets the guitar body at a roughly 14.4 degree angle, so I trimmed the shoulders to that angle with a chisel, and, of course, had a chip-out issue. Fortunately, the chip was pretty big, and all in one piece, so it was pretty easy to glue back in with minimal hassle. Then I smoothed down the sides with the low-angle plane. With the shoulders done, we had to remove the ‘bottom shoulder’ as well, which we started at the table saw because it gives a smoother cut. We finished the rough cut at the band saw, then into the vice for finishing with chisel and plane. The tenon ended up clean, straight and smooth, so we were very happy. That should make our lives much easier when we get around to cutting the neck pocket in the body. With the tenon cut, we turned our attention to the truss rod channel. I have to admit that we made this harder on ourselves than it really had to be. If we had done this before rough cutting the side profile in the neck, we could have just put the edge guide on the router and had an easy go of it. However, we had already rough cut the side profile, so our sides were not parallel to the centerline of the neck. We started by clamping a fence to the workbench, then trying to clamp the neck down with the centerline parallel to the fence. At some point, we realized we were doing it backward, and we just clamped the neck into the end vice. Then we clamped the fence to the workbench so that it was parallel to the centerline. From there, we could run the router down the neck with the base firmly against the fence. We did several passes with a round bit (the truss rod is rounded on the bottom) to get to the proper depth. Then we expanded the top end of the channel to accept the larger head of the truss rod. A little cleanup and we had a great result. I have one open question at this point. The rod is flush to the surface of the neck all the way down, except for a slight gap above the chrome adjustment 'head' at the end of the channel. Should we cut a small filler piece of mahogany to fill the channel above that head? We’re excited to be getting to the fretboard next - it's starting to feel like real progress. As a bonus for reading to the end, here are some pics of the fully manual dust extraction system/shop assistant. Looks like he might need some training on the equipment.
  24. 5 points
    Just need to finish his eyes and lay on some oil. SR
  25. 5 points
    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 ...