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Showing content with the highest reputation since 04/01/2019 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. 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
  3. 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
  4. 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
  5. 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.
  6. 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.
  7. 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.
  8. 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!
  9. 8 points
    day 6 and 7!!! fretboard sloting table jig,
  10. 7 points
    And now it is fun time! SR
  11. 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.
  12. 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.
  13. 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
  14. 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!
  15. 7 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
  16. 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.
  17. 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!
  18. 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!
  19. 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:
  20. 7 points
    The string audition was held and DR Pure Blues was the winner (and has been for some time). SR
  21. 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
  22. 6 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!
  23. 6 points
    Got a little demo recorded this afternoon. Cheers!
  24. 6 points
    Hey guys n' gals, this is The Shiv. This is my first build documented here on Project Guitar, and my first submission to the guitar of the month. I've been building since highschool, but too a ~10 year break from full builds to focus on playing and modifying, with my first full guitar "back in the saddle" being last year, and now this one. It's the most complex build I'd done to date, and features a bunch of ideas I've collected from other builders over the years. I wanted this to look aggressive yet refined, and included some subtle details to that effect, like the diamond volute, solid aluminum logo, and magnetized curly maple cavity cover. Build thread: Specs: - African mahogany body - Curly maple top and headstock cap, natural curly maple binding throughout - 5 piece neck, curly maple and ebony strips - Pau ferro fingerboard and truss rod cover, solid MOP offset dot inlays - 25.5" scale, 24 Jescar jumbo stainless steel frets, partially scalloped - Bareknuckle Holy Diver pickups - Gotoh Tune-O-Matic bridge - Hipshot locking tuners, reverse headstock - 3-way toggle, volume, tone, and two coil spitting switches, one for each humbucker - Satin lacquer finish Pics: Video demo below: Cheers!
  25. 6 points
    Nothing fancy, filming on a gopro and an iphone but will probably need to get myself a voice recorder. Episode one below.
  26. 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
  27. 6 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:
  28. 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.
  29. 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!
  30. 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.
  31. 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.
  32. 6 points
    This is already a very competitive month....let's make it even more so! Scroll and Burl Body-- Black Limba Top and HS cap--Maple Burl Neck and cavity cover--East Indian Rosewood Fretboard--Cocobolo Tuners-- Gotoh locking Frets-- Jumbo SS Bridge --Babicz Switch-- 5 way blade Pickups--Klein high wind P-90s at the neck and bridge and a Klein high wind single coil middle wound and wired for a strat. Build thread: SR
  33. 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
  34. 6 points
    Hello Everyone, here's my entry for the October GOTM. Name; Standard General Body wood: Sapele mahogany and flame maple Neck wood: Sapele laminated with maple veneer accent stripes Fretboard: Rosewood bound with flame maple and luminlay side dots Hardware: Evertune bridge, Hipshot locking tuners Electronics: BareKnuckle Rebel Yells with coil splitting push push tone pots Other Features: Grain matched backplates, paduak inlay at 12th fret, neck volute, wenge logo inlay This guitar is for my bandmate who is in love with Gibson SGs. However with all the inherent problems with them I decided I would build him one to the same specs as an SG, but then buff it up here and there. Somethings that make it special and a little different than your "standard" SG are upgraded hardware and electronics, a thicker body (to counterbalance the typical neck dive), an added volute so it HOPEFULLY wont break at the headstock, grain matched cavity covers and custom band inlays at the 12th. This was the first guitar I have ever built that was a) 24.75" scale and b) with any sort of neck angle. It added some challenges and I really enjoyed thinking out side the box to accomplish it precisely. This was probably the sixth or seventh guitar I have built. Thanks for looking!
  35. 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.
  36. 6 points
    I'm taking a page out of @Stu.'s book. See if you can spot any changes. This weekend was dedicated to finessing the curves, making sure all those compound curves blend into each other smoothly. Plus there were a few penetrations. SR
  37. 6 points
    It is easy to see my inspiration is the Paul Bigsby guitars of the 1940's. His eclectic, hands-on and one-off approach was super cool. My background was opposite as a production kitchen cabinet maker. I basically established a formula and repeated it. This build, my first as a retired dude, was a chance to take some time, be creative and riff on what has inspired me. I'm an artist, amateur musician and guitar maker and do this for my own enjoyment in my garage/workshop.