Jump to content

aidlook

Established Member
  • Posts

    584
  • Joined

  • Last visited

  • Days Won

    3

Everything posted by aidlook

  1. Thanks, I was surprised to see the width of the thing when it arrived. It should be said however, that this is a fairly small body size. The plan for one of these bodies is to cover it with a spruce top (for aesthetic purposes mainly), I'm thinking something like this: Body: Spruce top, mahogany back Neck: Maple, headstock design TBD. Bridge: Wilkinson trem Pickups: Some form of soapbar/humbucker combination
  2. So, it's been a while... Having not built a guitar for some time, I was quite surprised to come back here and see how long it actually was since I last put a guitar together. Searching for my last build thread it turns out I haven't been active for 7 years: I did change the plans for that build to a body milled from billet aluminium, I even managed to finish one half of the body on a CNC before graduating from university. Having lost easy access to a workshop, and spending a number of years living on three different continents, I had to put most guitar-building activities aside for a while. However, I always liked the body shape and I think it's about time I do something useful with it. So I've settled into an apartment, and have managed to turn one of the rooms into a small work space. Trying to keep dust and noise to a minimum, I've sworn off power tools and have presented myself with the challenge of building a guitar using (mostly) hand tools. Anyway, here it is, my first progress pics in 7 years, and also my first attempt to plane a piece of wood using only hand planes. First passes Manageable 'dust' levels Result after smoothing. One big piece of quarter sawn mahogany -hoping to get two bodies out of this.
  3. An inch or more?, what's the point of even cutting an outline if you're gonna leave that much?
  4. I think I figured out what you're talking about, will be nice to see if I'm correct once you reveal it (if you intend to)
  5. I like how you seem to have your guitars tested by Swedes lately...
  6. Gibson l6-s's are set-neck all-maple guitars, you could always check one of those out
  7. Have you tried to stain and apply the poly on a testpiece? Chanses are quite good it's gonna look a little darker once you clearcoat it
  8. ...causing them to break, right? And my point is that strings usually don't brake in the picking area, but from exhaustion in areas with local concentrations of strain on the string.
  9. Tried most australian coins but liked the 20c the best...maybe it's the platypus-appeal. But yeah, the 10c would probably be closest to what Brian May uses though. Those notes suck though...I've never encountered more ripped notes than in Australia
  10. Does your strings usually break around your picking area? ...mine don't PSW: I used to use those jazz picks for a long time, really liked them but now I'm playing with the transparent dunlop's for some reason. Also tried some different coins and found that the 20c aussie dollar worked surprisingly well for me.
  11. I get what you're saying about low prices usually equals low quality....but especially from indonesia, korea etc? If it was the same price and made in the US (or most of western Europe) the quality would probably be even worse....
  12. I am personally not much of a believer in neck relief, and prefer a straight neck. The relief does have an effect on the top frets since it moves the entire nut relative to the bridge. I don't see how neck relief will help you if you're after low action on the middle of the fretboard, since what you're doing is effectively increasing the action here. with a dead-flat board, wich is properly leveled, you should be able to get a lower action than with neck relief. damn...2 replies as I was writing... Anyway I think I'm gonna have a look at this mathematically...But keep in mind for now that the amplitude of the vibrating string decreases as you move up the fretboard...
  13. Raising the bridge will increase the action over the entire board, BUT it won't increase the action equally over the entire fretboard. When raising the bridge what you're really doing is increasing the string angle (lets call it A) at the nut. If you think of the string and the tops of the frets as a right angle triangle, where the string is the hypothenuse. The approximate action at any given spot on the fretboard will be the distance from the nut multiplied by sin(A). the further the distance from the nut, the greater the action. What you want to accomplish seems to be greater action on the top frets, wich is already achieved by the geometry of the fretboard, wich is what I think wes was getting at. This is why it makes more sense to just make shure the neck is as straight as possible, and level it properly. Fall of seems to me like a lazy way of getting low action, without having a properly leveled neck, and also it won't accomplish universal low action over the entire fretboard.Have you checked your necks bow?
  14. Why a marshall MG if this is a wishlist?
  15. I want some vintage Hagströms....the ones that look like accordions.
  16. You've got most of your info straight, although the original question was about the tuner you would use to check tuning while intonating.
  17. it's not even single plated...it's aluminium. I have come across quite a few aluminium-bodied guitars lately when looking around, and I've become pretty tempted to build one. Don't know if I'm gonna go for body + neck or only the body. I quite like the look of the Noah guitars telecasters.
  18. maybe if you had a more serious and thought-out proposition serious people might want to work with you. But imo you're not really ready to start any type of guitar company judging by your other posts. I couldn't find any where you've actually designed something, and in you last post you ask if painting a headstock with a sharpie is a good idea... If your designs are really that great (come on...it's REALLY hard to come up with something remotely unique and good looking when it comes to solidbodies) maybe you should try selling your designs. At the moment I haven't really found anything you've designed, and you seem to be lacking general experience as well when it comes to building. So what's your business proposition really, royalties for your designs while someone else produces them? I think if you're really serious about starting a business...a oneliner on a forum with no further info might not be the best way to get things going....good luck though
  19. I bought a saga kit and found it unsatisfying due to the fact that all you do is really assembling, it's still sitting in the corner unfinished with my fourth scratch-build almost completed. If you want to assemble a guitar I'd go for the warmoth directly...there's really nothing during assembly that could really screw up the instrument. All you really have to learn is setup, wich will be more gratifying if you're working on a quality instrument.
  20. Bitcrushers would get you an effect similar to what you're looking for, then add some eq perhaps to get closer. here's an example:
  21. Sounds to me in the clip that strings are actually muted in the more banjo-like sounds. Seems like this could be achieved by working the sustainers out of phase with the string vibration.
  22. knobs There's another source...without the pickup covers
  23. Brian May's red special...though I don't feel like I deserve a gold star for that...
  24. People have already told you that the option would be to buy a strat body template and you'll get exactly what you need. But then again...you'd probably be better off just measuring and putting everything in place rather than gluing 2 templates together...
×
×
  • Create New...