Jump to content

Entry for July 2020's Guitar Of The Month is open - ENTER HERE!

Leaderboard


Popular Content

Showing content with the highest reputation since 07/14/2019 in all areas

  1. 10 points
    Alright, finally finished this build! Here she is: Slight scallop in the higher frets, not too deep, doesn't go all the way across to the bass side, just where I need it for bends and such. Super happy with the way these logos came out, first time I've ever had a proper set made. Glad I went with metal too. This was extremely fun to design and build, and was a big step forward for me in the technique department. This is also the best fretwork I've managed to pull off to date, and it plays better than anything I've built before. I'll do a little demo of it soon. Thanks for all the encouragement everyone!
  2. 9 points
    SEL Birdseye Maple Here is my last just finished guitar. The build thread is here : Sorry I do not have good pic of the finished headstock (I lost some file), they were blurry and I'm waiting good outside light to make new pic... Here is the spec: -Birdseye laminated arched top -Solid figured yellow birch back and side (bent side) -Black Walnut Binding -Roasted Birdseye maple fretboard over maple neck -Mahogany/maple/mahogany center block -Maple pickup ring and sting retainer. Maple/black walnut/maple truss rod cap. -Vineham Whisky Burner bridge pickup and Vineham Rockabilly neck pickup. -Concentric Volume pot, master tone pot. -Gotoh tuner and bridge -25.5" scale lenght, 1"11/16 nut width -V to C neck shape -13"3/4 lower bout width body. She sounds like a 335 in the end, with a little more acoustic vibe!!!
  3. 8 points
    Hi I present to you "SwiftGuitar", sometimes shortened to SG It's an 'in the style of' Gibson's iconic classic but with a few tweaks along the way. I've been building guitars and basses as a hobby for around 7 years: sometimes for my own use; sometimes for friends or fellow band members; once for a Nepalese buddhist who played in heavy metal band; occasionally commissions This one is for a friend, Matt, and has used mainly wood that I had accumulated over the years and pickups that Matt himself has wound or modified. Spec is: Timbers: Top -Yew; Back -Sapele; Neck - Mahogany & Purpleheart; Fretboard - Ebony; Inlays - Mother of Pearl Scale: 24.75" Fretwire: Jescar Evo Gold Finish: Body - Ronseal Hardglaze Polyurethane Varnish (brushed on); Neck - Danish oil slurry-and-buffed Weight: 8lb 6oz There is a (long) blow by blow build thread (link below) for anyone in Covid lockdown and who's finally run out of things to do : And here it is: My hands are shot for playing but before the comp closes, I'll see if I can find a way of getting some sound clips without contravening the lockdown rules Thanks for looking!
  4. 8 points
    The last couple of days have been about the final knockings - final shaping and refinishing of the neck, set-up and strap buttons I had built a couple of tweaks to help the balance but the main one - fitting Axesrus' (a decent UK supplier) wonderful lightweight aluminium tuners - was dashed because of (presumably Covid-related) non-availability. Instead, I have fitted some really, really nice open gear Hipshots - but, honestly, they are quite a bit heavier than the Axesrus ones. But when Matt tried it out. I watched how he played and we discussed that yes - he does want to get to that 24th fret..and with his thumb wrapped round and so the back button wanted to be in the 'traditional' place if at all possible. But what I do (with all of my builds) is first fit the back button, then pop a slippy strap on it, over my shoulder and, holding the strap in various positions while supporting the guitar, gauge where the balance was going to be. And it looked like we could get there. So on went the back button (and nowhere near the 'goldilocks' zone of 12th -13th fret I always recommend!): ...and then popped a slippy strap on and hands off... So, whatever position Matt likes to play, it should be absolutely fine Final bit of polishing up tomorrow and it's ready to go to Matt. So one last glance before it goes into the gig bag: Yup - that'll do And as always, many thanks for the kind words and great encouragement along the way - always very much appreciated
  5. 8 points
    Back to hanging like a side of beef. SR
  6. 8 points
    I had to use some lacquer thinner and a razor blade to get the double sided tale adhesive off. As long as the grain is jumping, I might as well take some glamour shots. SR
  7. 8 points
    HI Guys, I would present my 1st build (after my 2nd which was a Thunderbird bass from January). Guitar name is: LP-1. This is my single cut, Les Paul, whatever you want to call it. I didn't spend significant time on the design, the goal was apply a standard sunburst technic. I really wanted to make a vintage look with brown and amber colors and definitely not a relic design. It was much more done by my instincts than done by experience but frankly I could really surprise myself with the finish. I used Crimson stains and closed it with high build guitar oils which applied only one time for matte finish. The body is simple basswood, the neck is maple and the fretboard is rosewood. The hardware is pretty standard chrome stuffs, the plastics are cream and gold. Because I like trash metal so much I chose EMG 81/85 active humbuckers for heavy sounds - and it sounds like a HELL! I hope you like it because I LOVE to play on it. Regards, Ratesz
  8. 8 points
    The Pimp Hi y’all! Wanted to do a thematic build so I imagined a guitar with pimp aesthetics. purple velvet jacket, gold bling, raw p90 sound etc 2 piece Korina body sealed with shellac and painted in ultra thin-skin nitro. Halon gold hardware trem and bridge (you gotta try these! Best quality! World - class alloys and tone!) Nick Silver blue moonlight pickups alnico II 50s style p90s gotoh vintage gold tuners ebony fretboard 16” radius tortoise shell pickguard real mop inlays 4-ply laminated neck flame maple with walnut. home-made decal layered angled headstock (9 degrees) loved the tone! You can rock out with it, play the blues and surf for dayzz! enjoy!! https://youtu.be/7o0ZYNWLxZE
  9. 8 points
    Using the body as a pattern, I marked out the top. And then cut it out. And like its big brother it need to trim down a bit. I may have said I wasn't going to do that again..... but I guess I thought I needed a couple of hours of exercise. I put some water on the side I'm using to better see what was inside and to remind myself that the two hours of exercise was not wasted. SR
  10. 8 points
    Definitely! I’ve tried it before using just tape, and since the dye is so viscous there’s always bleed and it’s really hard to get clean lines after that - even razor scraping leaves a sort of soft edge when I’ve tried it. Thanks! Definitely the most risky I’ve been with edges/sharpness, and it’s been fun to try something new. I’ve decided to name this guitar The Hatchet due to its sharp edges Alright, finally got to my favorite part of the build process today: color! The body came out plenty dark so the neck can stay as is. I was planing on screws for the cavity cover but had some magnets left over from a previous build and decided to use those. Base coat of blue, and a little truss rod cover I cut from some some scrap rosewood and colored with the same black stain as the fingerboard. First coat sanded back. Second coat with a lot more green mixed in. Second coat sanded back. Final coat leaning a bit back towards blue. I absolutely love the dying process, it’s easily my favorite part of the build; something about the magical transition from “guitar shaped hunk of wood” to “hey this is turning into an actual instrument” just does it for me. The color tests didn’t have me convinced I would get a rich enough color, but this looks great to me, and it will only get deeper once I put some lacquer over top. Despite wiping after each coat of stain, some color did build up on the binding, but I’m fairly certain I’ll be able to scrape it off before my first coat of clear as it’s floating on top of that sealing lacquer I put on yesterday. Once I get a couple coats of lacquer on both pieces I’ll glue up the neck, as I figure this will let me take off excess glue by just scraping down to the lacquer, that way I don’t have to risk scraping any of the color out when I clean up the joint. Definitely going to mask off the glue-contact areas to leave them raw though. I also won’t drill the bridge until I have the neck glued, as I don’t trust any measuring/marking I do to locate the studs until that neck is actually in there. Got some bad memories of uh, certain... adjustments... I had to make with previous builds.
  11. 8 points
    I sure hope so! Not certain, just a picture I figured would go with my username. Get it? Lumberjack...? Axes....? But also, guitar axes.......? I’ll show myself out. Major pic dump from a long day in the garage: Body trued up to 80 grit, controls drilled. Control cavity roughly routed, and a shot of my “method” for cavity cover fitting; I’m not a big template guy (although I know I should be) and cut almost everything free hand, including routes. Pressing aluminum foil over the cavity gives me my shape, as every cavity I cut is unique to the controls and layout I decide on, which changes for most every build. Cover cut And fit Neck cut and trued up Side dots drilled Gluing up the MOP dots. Fretboard radiused to 1000 grit Frets cut and tangs ground off. Stainless steel is a bear to work but I’ve become somewhat addicted to the feel for bends/vibrato, and have found cutting the frets and grinding the tangs to be easiest with a dremel metal cutting wheel with the fret locked in a vice. Let me know if anyone’s got an easier way, I used to try nipping them but wore through tools pretty quickly that way. Sealed the binding with a spritz of lacquer as I’m fairly certain I’ll be darkening the fretboard with Stewmac stain and didn’t want it bleeding into the maple. Frets pressed Current status after a full day of work.
  12. 8 points
    @Prostheta Wow you lost me on that one! Well I painstaking scraped the pinstripe purfling to reveal the maple stripe better and it was worth it. Just enough to make it pop more. Peeling my pinstriping tape away revealed that it did a good job, but still had seepage in several places. Unfortunately it was swamp ash and not maple and it sinks in deeper as the wood is so soft and porous. There were also a couple spots on the sides that looked like the dye splattered but it was completely covered so Im baffled as to how it would get there. Weather is raining and cold. but I opened the garage door, turned off the heater and sprayed a few light coats of vinyl sealer to get it locked in. You can see how the ebony tail block really stands out now. Once its oiled (or even dyed and oiled), it’ll blend. I’ve got some voids to fill, a couple annoying gaps in the purfling, etc. Stuff that screams at me right now, will recede later.
  13. 8 points
    Hello! Hope my post is correct... I just finished a Semi-Hollow Baritone guitar! Got a lot of problem while doing this one, but this guitar is so resonant in the end and has a wonderful tone (will try to make a video soon). Here is the spec: SEL Baritone 28 -Figured yellow birch back and side. -Figured cherry laminated top (cherry-poplar-cherry) -Maple center block -Black walnut binding -C shape Figured mahogany set neck, long tenon (go under the neck pickup but in the end make not much difference with well made shorter tenon) -Marble Wood fingerboard (12' radius) -1" 11/16 (42,8mm) bone nut -28" scale length -Crushed Pearl Inlay with Epoxy -Medium fret wire -CTS concentric volume pot... I really like it, so much I'll do it on other guitars! It's very convenient! -CTS master tone pot -Jess Loureiro hand wound pickups (made in Spain). The neck pickup is a Wide Range humbucker in regular humbucker size. The bridge pickup is more like a regular PAF. This mix is awesome to my taste! -Marble Wood pickup ring. -3 positions switchcraft selector. -WaterBased finish over Shellac over blue tint. I really do not like this finish, I'll try another product on the next guitar. Was really good until I buff it up! You can check some more pic on Baritone Guitar and even some of the making. I really love this guitar!
  14. 7 points
    One of the reasons for the detailed threads is to remember what I did last time. Like thicknessing the sides from 4mm to 2mm. Clearly not the block plane. But was it my No5 Bailey plane? Or scrapers? Or my scraper plane? Surely I didn't sand it? Well - tried them all. This one (the No 5) should have been the best: No - I remembered when in desperation I picked it up and tried it anyway. Yup - the block plane that 'isn't suited to this kind of task'. Sorted it in about 30 minutes And so cut them out to the template above's shape and soaked them both in the bath for a decent time: Primary tool is the electric bending iron: And then, coming up the bench towards the camera, it's a water spray bottle, sturdy gloves, the mould and - a flash of inspiration - the bits of body-shaped ply offcuts from making the mould stacked together and held tight in a vice: Red Gum walnut is new to me, but generally walnut is quite good to bend. But - that waist is as tight a bend as any I've tried. I moved the bending iron round to the sharper radius and worked slowly and carefully, re-soaking the wood frequently. It is VERY easy for the wood fibres to split if you over do it or - worse - snap. And if it snaps, it's a whole new back and side set - they are matched so you can't just get a set of sides! Doing it by hand, I could get to within 15 degrees of the required bend but just couldn't get it further. Then had the inspiration with those body-template offcuts. Could I pretend this was a Fox bender without the heat? And it b****y well worked!!!! The near clamp was just to hold the sheet in the right place and the far clamp - that started around an inch above the mould, just gently and continuously brought it closer and closer until it was fully in the waist 'V'. No splits, no cracks, no need to buy a new back and side set! So this is all in and will hold its shape pretty well when fully dry, but I will keep it in the mould until the edge kerfed strip has been put on top and bottom and then it will completely hold its shape even out of the mould
  15. 7 points
    Here is "Patience". Build thread here: Imagine that Gibson were to take one of their lowliest, basic, cheap guitars and hand it to their custom workshop. To be skilfully master-crafted and inlaid using only the finest materials To be lovingly created using the utmost attention to detail To be as light as gossamer and with a voice to make angels weep Well back to reality, this is what I built instead! This is my second build. This time it was for a good friend of mine, who wanted a Les Paul Junior Double-Cut, but customised to his specification. Body & neck: African Khaya Fretboard: Macassar Ebony Inlays: Mother of Pearl, Paua & Coral Pickups: Iron Gear Platinum P90 Bridge: Wrap-around, compensated (sorry, I can't remember which brand) Controls: Volume, Tone & 3-way Switch. Custom layout to allow "pinkie" operation of volume while playing Cover fixing: Neodymium magnets "Final" weight (before later neck re-profiling): 2982 grams, which is a shade over 6.5 lbs Anyway there's enough detail in the build thread (!). Here's some pictures Finally a "demo" video - although I think Dan has gone a little lockdown-crazy! He does eventually play the guitar if you persevere
  16. 7 points
    Her goodies still need tweaking and dialing in....I think she is looking forward to it; Glamour shots next weekend. SR
  17. 7 points
    I'm entering the Billy Bongo bass, full build thread here: Specs Neck: Black limba one-piece neckthrough with macassar ebony fretboard, white MOP inlays and side dots, golden pheobe backplane on the headstock. Body: Black limba wings with bog oak contrast veneers, golden pheobe top, ebony ramp and control cover Hardware/electronics: ABM bridge, Nordstrand soapbar pickups, Darkglass Tone Capsule 3 band active EQ, Hipshot tuners Finish: Clear nitrocellulose on the body and headstock, crimson guitars finishing oil on the neck shaft Weight: 8lb 10oz
  18. 7 points
    Hey guys n’ gals, the wood all came in for my next build so I figured I’d get this thread started! This will be a 7-string multiscale guitar, and will have a very similar design to my most recent build. However, this guitar’s theme will be the blood moon, and as such it will feature colors, inlays, and other design elements to suit. Projected specs: - Quilted maple top and headstock cap, natural quilted maple “binding” - Ribbon mahogany body - Roasted single-piece curly maple set neck with 2x carbon fiber rods - 25.5”-26.25” multiscale with perpendicular fret at 8 or so, 24 stainless steel frets, slight upper fretboard scallop - Undecided on fretboard wood, either quilted maple or ebony - Locking Sperzel tuners - Hipshot multiscale fixed bridge - Bareknuckle Juggernaut humbuckers - Some lunar-themed inlays in the fretboard and elsewhere. Pics of the wood: Really looking forward to this one, and should be able to get to work on it soon. Cheers!
  19. 7 points
    You're not kidding about an early stage! But my next build is at an even earlier stage:
  20. 7 points
    Ah go on, I'll give you a sneak preview of a photo taken on my phone. The SLR shots will follow later
  21. 7 points
    Name: Prcknow R.S. Hey folks, here's my first build ever. With little prior woodworking experience, it's been a wild ride but I'm extremely happy with the result. I decided to name it Prcknow (derived from the Croatian word "prkno" that is slang word for ass...) because whenever I brought the topic of building a guitar among friends, the joke was "if you build it, it'll sound like ass" hence the name. R.S. stands for "racing stripes", just like on racing cars, the racing stripes along the neck/body make you play faster haha. (lame jokes among friends, but oh well...) The whole journey was documented here: Neck-trough part is made by laminating wenge and pear stripes, the wings are mahogany. Neck thickness is 20mm at the 1st fret, 21.5mm at the 12th fret but around the 16th-17th it starts getting thicker a little bit faster. I always felt I didn't have anything to hold onto while bending strings at the upper registers hence why I made it to start getting thicker towards that end (we're talking about 24mm at the 17th fret, so not extreme, but nicely noticable). Fretboard radius is 10". The inlays are made from the same pear, positioned above the neck stripes, to make it look like they are showing through the rosewood. Body wise, I tried to keep it pretty slim, the body is 36mm at the thickest part around the pickups, going down to 13-15mm at the edges. It balances pretty well (center of mass is around the neck heel joint, a bit towards the body) so no noticeable neck dive. Picture of the back side + neck: Hardware wise I used a Schaller bridge, Kluson tuners, Graph Tech Black Tusq nut, Fender standard frets, Q-Parts Dome Potiknob with the Celtic weave and Göldo string trees with the rollers. Tendency was that all hardware is black. Electronics wise, the pots and mini toggle is from Göldo, Dimarzio X2N and D'Activator pickups and a Göldo audio jack accessable from the top. No problems plugging/unpluggin cables. The volume pot is a pull/push one, so there are 6 configurations all together: Volume pot pushed down: Neck, Neck + Bridge, Bridge, Volume pot pulled out splits the coils: Split Neck (with the coil closer to the neck working), Split Neck + Split Bridge, Split Bridge (with the coil towards the bridge working). It was all finished with minwax wipe-on poly, with the front in a full shiny mirror finish, while the back side was made to be more of a satin feel so the hand slides nice along the neck. I will try to get a video demo of it playing, really happy with the sound, the DiMarzios scream pretty wild, but can deliver surprisingly nice clean tones as well.
  22. 7 points
    This is my first time I post on this site. I play for 45 years synthesizers and the last 2 years a little electric guitar . So I am a real DIY builder of many things, I designed an electric guitar with a possibility to link it to synthesizers with more opportunities to play the guitar and synths independently of one another. On the web I discovered the Acpad, which seems to be something unknown. It was a kickstarter project of Robin Sukroso The Acpad was designed for an acoustic guiter. Iwanted the Acpad on an electric guitar, but that was not possible. So I had myself an electric guitar design to get it appropriate to. Here the result: The body is oak and coated with carbon. The neck is of an old Epiphone, Maple neck and Rosewood fingerboard. Two unknow Humbuckers, but sounds great, with a good sustain. I hope you like it. Kindly regards from the Netherlands. Dutch-Riny
  23. 7 points
    And now it is fun time! SR
  24. 7 points
    Got a little demo recorded this afternoon. Cheers!
  25. 7 points
    So far so good! I tried staining it black and it reacted with the wood and turned it purple...so sanded it back and experimented with different colours. Black to highlight the grain, then some yellow and some brown. I’m liking this effect. Turned out that the bridge was too wide for the neck, so to cut a long story short I modified it and it is now a hardtail. The plus side of this is that it saved quite a bit of weight, that brass block was heavy! Some modifying of the scratch plate is now needed, so that it folllows the curves better.
  26. 7 points
    1957 Futura build I've been building for about 7 years now. It's a hobby I started with my dad where we built a couple of guitars together at his work shop. Since then I have been adding to my own workshop over the years. I have been pulled towards the "golden era" of electric guitars. The late 50's and through the 60's. I started with almost no wood working experience but I have a background in CAD and computers. Here is the link to the build thread here - 1957 Futura build Here is how the guitar looked when finished. It was my first attempt at a vintage nitro cellulose vintage finish, complete with finish checking. Regards Peter.
  27. 7 points
    I got a couple of things partially done this weekend....nothing especially picture worthy. I got frets in and the ends beveled, but I have not leveled or dressed the frets yet. I realize that I change the fret end dressing constantly while carving and sanding the neck. I decided to carve and sand the neck first and then level and dress the frets. So the neck is carved and roughly sanded. It still have a fair number of tweaks left before I'm completely happy with the shape and feel. SR
  28. 7 points
    That’s her finished!!! Well, almost. Needs action set and intonated but she plays good. I’m so happy, came out much better than I could have hoped. love the colour, the flames, the pickups. will get intonated tomorrow and might even get a wee video up. I put the strap lock on the rear of the upper horn this time. I’m almost regretting that as the body is so small the strap has to almost pull around my body,m. Time will tell and a thinner strap might help as well. Updated post so that pictures are rotated the correct way!
  29. 7 points
    Time for a wee break from proceedings. The lack of a headstock means any logo I apply needs to go elsewhere on the instrument. The common spot for these headless instruments appears to be just above the neck near the neck pickup and bass-side cutaway. I've seen seen this done as plain engraving (Strandberg) and a decal (Kiesel, Steinberger). I'm going to match this location for the logo, but but I'm going to go for something a bit more wanky in presentation and do some V-carving. First, some volunteers from the audience. Here's some dark Blackwood and Eucalyptus from the offcuts bin to experiment with a bit: Step 1 is to engrave the design into the Eucalyptus using a vee bit. It's important that a tapered bit of some kind is used for this operation: In the Blackwood the mirror image of the design is embossed into the surface with the same vee bit, giving a kind of paper stamp effect. The vee bit ensures that the peaks of the embossing remain crisp and sharp. Each corner of the letters' stroke has a prismatic effect: After separating the Blackwood mirror from the block the two pieces can be married up: After a few hours glued up in clamps the excess Blackwood can be planed and sanded down: Because of the use of prismatic carving, much finer detail can be obtained than by inlaying into channels with vertical sides. With regular engraving the finest detail you can do is limited by the radius of the smallest cutter you have on hand. The only drawback to this technique is that it only works on flat surfaces, If the inlay is sanded back unevenly (eg, on a radiused fret board), the thickness of each of the strokes vary as more or less of the prismatic inlay is exposed. A bit of danish oil brings out the true effect of the contrast. The whole logo here is only 8mm x 60mm:
  30. 7 points
    Fretboard glued on. Obligatory ”lay the crap on and see if it looks like a guitar” pic. Fretboard was left long, it will be trimmed to fit neck pup cavity. Starting to get a wee bit excited.
  31. 7 points
    I guess this is done. After putting the center star flare star in I wish it was the smallest instead of larger, as it breaks the illusion. But the flares nexus was also not realistic. Also, since the top flare tilted on inlay and is very shallow on one end, it may disintegrate as I do final sanding, so we may not be done yet. Lastly, the two tiny pearl areas to the left of the star flare just disintegrated as there was so little area. I may be able to set in some tiny triangles, but not today. Overall I’m happy I could get this much!
  32. 7 points
    The back plate has been attached and about 90% filed/sanded/scraped flush with the sides. It's very close in most areas except for the scroll and neck join/heel areas. The join is pretty solid. There are a few imperfections in the 'usual suspect' areas. I don't expect it will be very noticeable when it's all said and done. Once I get the scroll/neck areas cleaned up I'll add a small roundover on the back, since I'm not planning on binding it. I've tapped on the box some, and it has that 'high ping' sort of resonance. I don't honestly know what I'm listening for, but I do like the sound of it!
  33. 7 points
    Hey guys, First of all, thanks for all the help. Great to have a community that are generous as they are with their knowledge and experience. Its been a tremendous help. Here's my 2nd build: Osprey Wood: Genuine mahogany make up the wings. Wenge control cover. The neck is mahogany, wenge, and maple. The fingerboard and head stock plate are macassar ebony. The pick guard is ebony and zebrawood. Inlay: The inlay in the pick guard is gold mother of pearl. The fretboard is gold, black, white mother of pearl, and bloody basin jasper. General: 25.5 scale, 22 fret, Neck-through, Stainless steel frets, Gotoh Tuners, Signum wraparound bridge (love this bridge), Nitro finish Electronics: PTB tone setup. Bass and Treble tone knobs. Also has a 6 position freeway switch that have full humbucker in the left positions and split in the right. The pickups are Oil City, Blackbird humbuckers which are a medium-high output. They have great dynamic response with volume control. Been a really fun build. Everything was done by hand which partly why it took so long to build. Here she is:
  34. 7 points
    The string audition was held and DR Pure Blues was the winner (and has been for some time). SR
  35. 7 points
    Once I was able to see better I found that I did need to revisit the polishing. And once I got the hardware on it, I found a number of things that need to be tweaked. In the meantime, I got to see what it looks like with the hardware hung on it, at least for now. SR
  36. 6 points
    And here's Sissy. Sissy's got a black limba body, maple burl top and HS cap, East Indian rosewood neck and cavity cover. She's got Gotoh 510 Delta tuners, graphtec nut, stainless steel jumbo frets, Klein '59 PAF pick-ups and a Babicz bridge. SR
  37. 6 points
    And so, although I am going to fine-tune the neck profile and also need to take the neck pickup back to Matt to switch the internal wiring, externally, this is done. So - with apologies for the self-indulgence - here it is: As always, thanks for looking and the huge encouragement along the way
  38. 6 points
    Forgive the dust on the headstock - I promise to give it a wipe-down before I do the fancy photos - but I put a couple of magnets on the trussrod cover: Which hold it secure and straight: Underneath the tip there is a tiny bevel sanded so that removal is just fingernail stuff: Pickups and electrics are in and the 'first fit' is being done today and tomorrow. Two things I've already picked up that need tweaking: - now I've tried it with strings, the neck needs just a bit more shaving off the haunches - the two pickups are out of phase in the middle position (although they sound great individually). As they are single conductor jobbies, it's an internal swop rather than just swopping the hot and return that you can do with a two-wire setup so I'll get one of them back to Matt to do the surgery. But it's close enough to do a gratuitous photo or two If the light is good in the morning, I'll do the arty-farty photos before I take the neck pickup out again as it won't really change in outward appearance from this point on
  39. 6 points
    Yeaaah, let's call them "creative"... Some of my solutions are gonna cut corners, and some of them will be drastic. Stick around for the ride! Day Three: Today started pleasantly with ruler and pencil. We all know about the six (seven?) P’s, although I am treating this build in the same way as a stand-up comedian treats a gig - making it up as I go along, and hoping somebody laughs at it. Made myself some pickup routes. Or, shall I say, pickup holes? There was no routing involved. Time to make this thing about 800g lighter. And, hopefully, a touch more resonant than your standard block of pine... Although I won’t hold my breath. ( Notice how the two “frames” are slightly different sizes? Since I have no appetite for doing a full Les Paul carve on a questionable 4mm plywood top, this will be a flat-top endeavour. But, I will be doing an arm carve in the flavour of Gibson’s “The Paul”, so the inside of the guitar body at this point gets internally carved with a rasp to lend some strength to the top. I’m sure your keen eyes are, at this moment, wondering why all of my timber is white? Ah, because this idiot here bought dressed pine. It’s got a good thick layer of primer on it. Buyer’s remorse. To really put it into perspective how little I want to spend on this project, I take a stand right here - I shall not spend another $17 on some more pine! Guess I’d better sand all of that primer off, then. An orbital sander would’ve helped. But, that would put me over my budget - which is still sweet F.A. The obligatory “every clamp I have in the shop” photo. Except, here I have a measly assortment of six clamps. Oh, and the gravity clamp - bricks. Let’s see what this looks like in the morning.
  40. 6 points
    Well, my thoughts came long before my pictures, but here we go. Normally I let the wood tell me what it wants to be. This batch of wood had definite ideas of what it was and what it was going to be. It is a sibling... and it is obviously a sister..It ended up having a nice round bottom and a thin waist and finally some very interesting curves topside. SR
  41. 6 points
    This headstocklet needs a cover plate, so after rifling through the scraps bin I found an offcut from the body top. Always pays to keep even the smallest fragment of your fancy woods for builds like these. A quick trip to the bandsaw and a few passes under the drum sander yields a 2mm thin sliver of eucalyptus that can be overlaid onto the headstock of the neck: The tricky thing about working with such small pieces is devising a method to clamp it while it glues. There's a chunky bit of clear plexiglass acting as a clamping caul over the biggest flat area of the headplate, and under the rear two clamps I have a couple of brass PCB standoffs perched perilously on the edges adjacent to the nut slot. I guess if I were doing this on a production level I'd make up some kind of custom-shaped clamping caul out of HDPE that fits around the end of the fretboard: The finished article. Oh, and frets already in, sorry. I've decided to take the bull by the horns on this build and install stainless steel jumbos after swearing blind I'd never work with stainless again. Wasn't actually as bad as I remember it being the last time, so either I've remebered it wrong or I'm more tolerant of the experience. Zero fret yet to be installed: Side markers (yes, they are there. They're just a bit smaller than usual - 1.5mm diameter this time): First coats of oil. The redheart sapwood of the leatherwood is finally starting to stand out a bit better at the edges of the body:
  42. 6 points
    Damn been down again for the past few weeks. Had some xrays, damn technician folded me up like a pretzel. My doctor was pissed about that, set me back a month on my progress. Fuck me. I managed to get something done on the bass today finally. Rough cut the profile. mk
  43. 6 points
    I figured I'd throw up a thread here about all the things that keep me away from instrument building, causing me to have epically long build times! First up, I built a kitchen island for my house, with slide outs for the trash can and storage. Maybe not super interesting, but it's super functional, and turned out great! And my wife loves it, so bonus... I also built a bar area with legs and paint to match, which ties it in nicely.
  44. 6 points
    And for the eyes, some pic of the yellow birch back...
  45. 6 points
    Wiped on some finishing. After 3 coats of Crimson Guitars Penetrating Oil mixed with traditional resin oil mix(natural resins+boiled linseed oil,tung oil,mineral spirits). I ended up thinning the mix a bit more with mineral spirits cause the resin oil was quite thick mix. Next some wet sanding and another coat. After that I will be checking the neck angle again when I get the bridge mounted. And if it is off I will be shimming it or file the neck pocket to get it corrected. Depending on how high can the saddle height adjustment screws go.
  46. 6 points
    Another batch of progress pics from today: Binding taped off for a bit of lacquer to seal it before staining the fingerboard and neck. First time using fingerboard stain, pretty happy with how it came out. I initially had ebony in mind when I started this project but didn’t have any handy, though this stain seemed to do the trick visually at least. Neck came out on the darker side, I may sand it back a bit and hit it with a lighter shade, depends on what the body looks like. Testing colors for the top and headstock. Body binding getting the same sealing coats of lacquer. Honestly the hardest/most frustrating bit of masking I’ve ever done. Seems like it was worth it though! Should have enough time to get the body and top stained tomorrow. Cheers!
  47. 6 points
    I dont know if its a secret, but i'll share how i do it. I mix my alcohol dyes with acetone instead of alcohol. I saturate the top with the color, let it dry a few minutes, then sand it off. Second application is just as saturated. But after it starts to dry, i take a new cloth, apply acetone to it, and wipe acetone across the grain. It removes the color from most of the less deep grain, and gives you a clean white line on the quilt.
  48. 6 points
    Thanks guys! Ever since going back full time at it, ive been trying to step up my game! Here are some more teasers.
  49. 6 points
    This guitar requires dues to be paid. I was highly intrigued by the aesthetic of Tao guitars' T-bucket instruments. I liked both the square, inlaid pickguard idea as well as their flare for not only juxtaposing color, but also textures, in their instruments. This was really fun to do here with the high-gloss blue stabilized buckeye burl inlaid "pickguard" square, contrasted with the muted, satin pewter finish elsewhere. I also wanted to test myself to see if I could create an instrument with Mustang-style switching but without the back cover plate that would have hindered my ability to have a robust belly carve. Can you figure out how I was able to get all those switches and pickups in there without a back cover plate? True to form for the mixture of Jaguar and Mustang elements on this build, it features a short 24" scale length. Many people have not played with these types of instrument,s but they are a great deal of fun. After building my first shortscale (a blue paisley offset) I just had to make another when that one left for it's new home. Specs: Neck- Wood: Flamed roasted maple Fretboard: East-Indian rosewood Scale: 24" Radius: 9.5" Nut Width: 1 11/16" Carve: Thin C Headstock: Straight string pull 3-a-side in pewter with flamed roasted maple wings Inlays: Blue stabilized buckeye burl dots with aluminum outlines Tuners: Hipshot open-back locking Body- Wood: Poplar "Pickguard": Blue stabilized buckeye burl Width: 13.5" Bridge: Fender adjustable mustang bridge and jazzmaster tremolo Finish: Satin, real pewter coat body, high-gloss lacquer "pickguard" square, and tru-oil neck Electronics- This guitar features 2 claw-less Jaguar pickups configured like a traditional "Mustang." The slide switches allow each pickup to be turned on/off and placed in or out of phase with one-another. Hope you like, Chris
  50. 6 points
    Alright, here's our finish attempt. Added red analine dye and sanded it back with 400. Added amber after. Didn't like the color on the center stripe so I sanded that back to keep it natural. Added danish oil after that. I'll scrape the binding back to give it a little cleaner look. next I'll spray on shellac and finish leveling and proceed with nitro. I sanded down the pickguard and added danish to that as well. that help it dial back the ebony to a balance. I like the contrast between the body and the extra thick binding. I'll ponder on this one for a day to make sure its going the right way.
×
×
  • Create New...