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Showing content with the highest reputation since 03/24/2018 in all areas

  1. 6 points
    Next step on the critical path is finishing off the fretboard. For my last build I made a complete change and fully finished the fretboard before gluing it on - I personally found that much easier to do and it resulted in a much more accurate finished result. So while the fretboard was still on the blocks template - useful if I c**k it up and have to route an inlay out and start again - I tackled the ebony inlays. While the outline was accurate from the template, the fiddly bit was getting the centre area at the right height. I am using quite thin ebony sheet and needed the middle to be a teeny bit proud of the fretboard but with the sides properly set in so that I didn't find myself sanding fresh air when radiusing them. I used the router bit in the press drill to get the basic level and ensure flatness, then fine-tuned the levels with a chisel. For the ebony, I cut slightly oversize and sized them individually with teeny adjustments by sanding or chisel Here we are with 6 in and 4 to go: It took most of the day, but sanded - and with no filler or wood-dust epoxy at all - my, how satisfying was that??? :
  2. 6 points
    This archtop is very dear to me as it is not only for a dear friend of mine but it was also a super-fun platform to innovate on since I had control over most of the specs. Essentially I had to use black and white ebony, amboyna burl, and it had to be an acoustic archtop in my Model1 shape. Other than that the rest was up to me! So I played with some fun things like: A bolt-on version of my compound-bend all-access neck joint Radial purfling using burl Carbon fiber (neck, neck block buttresses, and laminated in pickguard) 3D printed structural elements (can't really see them though) Charlie Christian pickup Completely hollowed ebony bridge Oval hole and fan bracing Back-strapped diamond volute Here she is relaxing in her new home: The specs are: Curly maple neck, back & sides. Note: the back is domed like a flat-top not carved. Carved sitka spruce top with ebony binding and tons of crazy multi-layer purfling. Black & white ebony fretboard and tailpiece (veneered in normal ebony expect the "wings"). Hollow ebony bridge and CF-laminate ebony floating pickguard. Buffalo bone nut and saddle. 25" scale board with 12" radius and 1 3/4" nut. Finish is odie's oil neck with satin nitro headplate. Body is all done in an tru-oil with some additional wizardry to keep it from soaking deep into the top and potentially hurting the acoustic resonance. One thing I want to point out that doesn't matter for the final product, but I'm still proud of: I decided to fully hand gramil all the binding and purfling channels on this box. What a process... won't do it again... but glad I did it once so I can truly appreciate binding jigs and bearing bits! If you'd like to learn a (lot) more about this project, it's history, why the specs are what they are then feel free to waste 30 minutes here: Best, Chris
  3. 6 points
    No worries. But can I ask, have you been drinking?
  4. 6 points
    Yes sir. It makes it so much easier to get an even color. Here is the Paduak SS almost ready. This thing is a beast!
  5. 5 points
    its been an awful long time since I was on here and I have no idea why! for the last six months I've been working on this guitar. most of which was taken up by cutting out the tiny flowers - all 1300+ of them! I did this kind of thing before on an old shape and wanted to try it again, but make it better this time. today I carved the neck and all that's left is sanding and finishing pretty much. so anyway, some pictures. the front is carved (obviously) and the back is slightly curved from side to side - here with the branches on the top and laid out on the back heres the headstock mid binding - the branches go through the inner black and white - and then with the first bits of shell inlayed. and then headstock done this was the trickiest bit of the inlay - those pieces are tiny this is the back shoulder I didn't want to use any plastic parts (apart from the binding) so I tried to make a p90 cover out of maple - the holes ripped apart, so used a bit of ebano I got for the scratchplate on top instead, and im glad I did. I carried on the inly on the cover and plate graphtech got in touch with me (out of nowhere) and asked if I wanted a builders account, which was nice. so instead of the usual gotoh stuff, this one will have graphtech. and because of the builders account I thought hell why not, so its got a ghost bridge with acoustiphonic circuit too. here are the ratio tuners with the ugly (sorry) buttons. I've been so used to the gotoh 510's which are just sexy, so I got some wooden buttons and shaped them - you can see a botched attempt before I realised I could just print so outlines and stick them on instead of trying to draw around the buttons I had. like an idiot. and the ebony fits in really nicely with the p90 cover and plate - and jackplate/battery cover/circuit board holder. then I made some of those little clamps and got sticking it all together and here we are up to date. and in case you're wondering if you have to be a giant to pick it up - its hollow. I should probably have mentioned that bit. oh, and its about 60mm thick on the edge. the controls will be vol and tone for the p90, then a vol/push/pull for the ghost and a mini switch and here you can see that the inly from the front carries over onto the side and round onto the neck/heel. the sides and neck will be a dark colour so the branches will stand out more. as for the colour of all the sycamore - im thinking a sky blue from the top down, fading out towards the bottom with maybe some pink/purple in there too. I kinda want that look of those pinky purply clouds you get on an evening. I dont know. we'll see. oh, and for some reason theres no picture of the fretboard. but the inly from the headstock carries down onto it, and the inly on the body starts on the fretboard, and the markers are larger falling petals
  6. 5 points
    Hey guys, Sorry I haven't posted in a while, lots going on at home and been concentrating on the social media stuff to get myself "out there" and all that. However, just finished this one. My first 7-string in a while, named "The Rook" and very au naturel. Custom 7-string SD with Ash body, Maple set-neck, Flame Maple fretboard, Tonepros TP7 tune-o-matic bridge, Gotoh 381 Series Magnum Lock tuners, Fishman Fluence Modern set with coil split and USB recharge pack, Lollar Tweed single coil pickup (this passive/active mix has almost sent me insane today... Never going to attempt it again) and natural Poly clear coat finish...
  7. 5 points
    The bridge is a strat type tremolo. I got that routed and the switch locations set. Also the control cavity and and insets for covers. SR
  8. 5 points
    The Osage Orange polished up nicely. I'm starting to really like this Osage Orange and walnut combination. SR
  9. 5 points
    I did also cut and glue up a headstock cap of Osage Orange. SR
  10. 5 points
    Warning: Pic heavy post Hope you're all having a good weekend. I've been wiring up some Fishman's and finished this wild beast... Full spec: 6-string DC with Leopardwood neck-thru-body, Alder body (wings), Leopardwood top with Ebony laminate, Pale Moon Ebony fretboard, Gotoh 510 Series tuners, TonePros T3BT Tune-O-Matic bridge, Fishman Fluence Modern pickups and Tru-Oil finish... Sorry, I know it's more pictures than usual in one go... Hope you don't mind
  11. 4 points
    Bear in mind that these are just base coat colors. The final colors will come with lacquer tinting. SR
  12. 4 points
    I'm working on that. According to my modus operandi, I needed another project to sidestep the project getting in the way of my main project. So, I started building the RS trem from scratch while I fix the mandolin as I build the tele. Boom.
  13. 4 points
    It is official! SHB Mk II is finished & plays well! Thank you for the encouragement, advice, and help throughout this. Could not have done this without you. The red there in the image is a reflection of my shirt... Lighting in the shop makes pictures an interesting endeavor. And some marking on the case to give it a home. Now... to finish up Mk III before my brother in law's birthday lol
  14. 4 points
    Today I've been making the bevels os the truss rod covers made out of ebony. I did it with the help of the dremel and much patience, but the result well worth the effort. After that I polished and buffed. Over them will go my signature. Some pics: Scorpionscar
  15. 4 points
    Routed Corners squared off with a chisel (first cut across the grain to try to avoid any grain splits) First trial fit - out by 1mm on one shoulder Bit of fettling... ...we're within approx 0.25mm. A bit more fettling and it should be a good snug fit. The levels worked out beautifully, the planes of the body and neck meeting at the join. All in all I'm quite chuffed at a first attempt at a set neck. Just enough "slop" for glue too A couple of weeks off class now, and other things are taking priority of my spare time unfortunately. We'll be back soon with final adjustments and glue-up clamp shots hopefully
  16. 4 points
    I feel like I am probably wearing out my welcome by constantly posting minor updates... sorry y'all! anywho, this week I got my neck shaped: as many suggested it was a very satisfying experience. I found a diagram of fender custom shop neck profiles and decided I'd shoot for the "60's P bass oval C" profile. I used my planing jig to put in a taper a hair north of .79 at 1 and .95 at 12th(more like .85 due to a 3/8 truss rod - I didn't want to end up with much less than a quarter on the bottom). Then I did two facets as google had taught me. From there I winged it and at the end did a lot of sanding with the profile of my hand. Feels great! I cleaned up the knobs I made and if you look close you can see the small access for my truss rod that I cut. also cut some relief for my tuners... don't know if I need it but thought it might echo the body nicely. then I figured I might as well get started on my active preamp... The other day before work I whipped up a nice compact layout for a "Pre ernie ball sabre2 bass preamp" - based on baja's schematic (the man the legend - thank you baja!). Below you can see it in the bag as I ironed on my press-n-peal blue and doctored it up with an etch marker. about an hour and a half of etching using ferric chloride and voilla wired it up knowing the top side(trimmer) would be exposed via my f hole, so I did all the wires on the back... and put it in my test jig and blamo - works right out the gate. labeled all my wires for convenience later and saturated the top with liquid tape... will hide it a bit, and prevent unintentional shorts. Note the LM4250 above... I'm told they have a really low current draw and will allow a 9v to last for years under normal usage. I have used them in other basses and am a believer... still haven't changed a battery in any of them while I've changed them a couple times in my lakeland tetsuya clone, and alembic stratoblaser clone -which were both built well after. anywho... thanks for listening!
  17. 4 points
    Just call me Popeye! I got the extension changed, and can now show you the same skull roughly twelve years later. My understanding is he got a teeth cleaning shortly after this pic was taken. We certainly don't want his teeth to fall out. SR
  18. 4 points
    This weekend I’ve been repairing the headstock of one of my guitars. An explorer I built some years ago, to be honest, my first guitar, and as a result I met this amazing forum. I’m going to explain the way I did it, cause I think is interesting for its complexity and for the risk as any mistake could be a disaster. With the permission of the moderators of the forum, I’ve decided to use this topic, instead of this reparation has nothing to do with the project of the four hardrocker guitars building, the reason is to avoid opening another topic. If this is no correct, we can move it to another properly section. The question is that I was playing my guitar and when I put it in the stand, it suddenly slipered and fell down. Aparently has no cracks, no scratches, nothing visible, but had problems for maintaining the correct tuning. I used my optivisor, and found that there was a little fissure just in the glue line of the scarf joint, almost invisible but when forced the headstock with my hands, the micro fissure opened then and got bigger, I decided to repair it. Some people said: “what a pitty, did not your heart break when you saw it falling down? My answer is NO, I didn’t. This things happens and is impossible to avoid them. If the guitar were in the case ten, twenty or forty years and had no use, it always look radiant, but an instrument only has sense if makes music, if serves as a vehicle to transmit emotions and feelings. Is normal that a guitar has scratches, and war scars, that makes it more beautiful and functional. Well, lets go, for the reparation I decided to make three mortises of 6x6x60 mm and insert three tenons of wenge with dimensions 6x8x60. 30 milimiters in each side of the glue line of the scarf joing for reinforcing it. I masked the front and rear of the headstock to prevent any scratch or damage. With the help of a template I marked the position of the mortises. How about my Coca-cola towel? hahahaha, is pretty cool... In order to do the job as precise as posible, I built a jig for mounting the router. With this jig is very easy to do the job I fixed the jig to the work bench with a clamp and screw the headstok to the slope of the jig using a pletin and the tuner drills. Now is time to make the tenons. This part thougth would be difficult but was really easy and fast. I cut the the tenons with a japanesse saw and marked the radious for rounding them with the help of my homemade sander. I tried if they fitted into the mortises and retouch if necessary with a file. After that I began to glue and clean the excess of titebond with a wet cloth, this way appart from clean beter, force the tenons to increase its volume some tenths of a milimiter and this helps to maintain them pretty tight. Afther that I use a clamp and left drying overnight. In order to increase the strenght and the aesthetics of the rear of the headstock I decided to glue a veneer of 1.7 mm. For achieving this I used the router mounted into a tunnel. Then marked the silhouette of the headstock with a template and cut with the bandsaw. The next morning I took off the clamps and since the mortises were 6 mm depth and the tenons 8, if maths does not fail, there are a difference of 2 mmthat have to be removed. For this I used a chisel. I sanded the zone for nivelating the tenons with the headstock Surface and for removing the coats of nitrocellulose. Since the headstock has an angle of 17º was neccesary to build a mould with the band saw in order to forcé the veneer to be bent. I put the veneer into the mould and applied steam and fastened the clamps slowly until the veneer achieved the definitive shape. I considered it was a good idea to drill the tuners holes before gluing it, I marked them with a wood bit wit brad point and drilled the 6 holes. They coincided perfectly, and began to glue. I used my MDF mini-clamps that make the job very easy. For eliminating the excess of the bubinga of the veneer I designed a jig for the routerbase of the Dremel, very easy. There are bits with bearings but very expensive… Finally only have to repaint the headstock. This hard rock beauty is now ready for much rock!!! Scorpionscar
  19. 4 points
    Just a sneak peek of what i did today. I should have taken pics but i was on a mission.
  20. 4 points
  21. 4 points
    It seems to like the bright lights. SR
  22. 4 points
    I still need to wire up the pickups, add strap buttons.....and apparently I forgot to install the string ferules as well. And of course, make a nut, string it up and set it up......and plug it in. SR
  23. 4 points
    Hopefully you're feeling better! What's the timescale like for shrinkage? Fingers crossed it's the kind of issue that presents after decades of my terrible playing! A little quick-set epoxy and ebony dust did the job very nicely for the remaining inlays. I finished those off, radiused the fingerboard, and then carved the bevels into the body. The bevel angle is actually closer to 20°, so using a chamfer bit wasn't an option; I went with my Shinto and Dragon rasps, which worked wonderfully! There's still lots of tidying up to be done, and I have to be super careful not to ding it now. Edit: I chose to carve matching bevels on the front and rear (more akin to an ESP SV/Alexi), to shed some weight and make it look sleeker. There's enough space between for the Strat style jack plate. Untitled by S K, on Flickr Untitled by S K, on Flickr Untitled by S K, on Flickr Untitled by S K, on Flickr Untitled by S K, on Flickr Untitled by S K, on Flickr Untitled by S K, on Flickr The weekend wasn't without problems, as you'd expect! There were air bubbles in the red epoxy, which I'll need to fill when I get chance. I also trimmed the fingerboard down a little too far; I was going to glue the fingerboard on with maple veneer between it and the neck, but I've decided instead to glue the veneer on and then hide it under the binding. Hopefully it makes the fingerboard look taller without compromising anything.
  24. 4 points
    Thanks man! I'm really surprised that the Paduak SS was the one everybody liked the most. To me it was the most simple build ive done in a long time. It does look great and play great though. Here is a sneak peek of the Black limba EXP.
  25. 4 points
    I tinted the curly maple piece and sprayed it with Nitro. I stopped the color just shy of red.....more of and IPA tone. So it went spray nitro, gently level Tru-Oil, spray nitro, level a bit more......rinse and repeat. Even with an orange peel surface this thing looks lenticular. AS it flips you'd swear the hills and valleys are over a quarter inch deep. I'm pretty sure I'm going to like it when it is polished out. SR