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daveq

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About daveq

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    GOTM Jan 2005
  1. The Createx paints aren't expensive - I'd guess that you could paint the whole thing for around $35 and have enough left over for another - maybe. That's without the clear nitro. Here's where I got mine: Mister Art I just really wouldn't even consider attempting it using nitro for each color. What a nightmare! It's not like you'd be losing quality either. There are other paints out there and it's possible that Createx isn't considered the best - I don't know. They were recommended to me by LGM but he said later that he switched to something else.
  2. No. The Createx was actually recommended to me by LGM. If I were going to use a different type of paint in the future, I would probably test it out. I don't know off hand what the likelyhood is of having troubles like that with the common airbrush paints. I think they are all going to be compatible with nitro but I don't know for sure. I do know that the Createx Auto-Air worked great for me.
  3. RRV - I'm no expert but my advice would be to NOT do the colors with nitro at all. Use something that cures faster when doing mulitple colors and then coat it with clear nitro or other clear. I use Createx Auto-Air for the colors on this one: and here it is after the clear nitro: http://www.home.earthlink.net/~ds_quinn/im...erFinal2sml.jpg Nitro takes a while to cure and can be tricky to deal with compared to paints such as the Auto-Air that I used. Using the Createx allowed me to do all 6 colors on that guitar in two days. I could have done it in 1 day but there was a lot of masking going on there. If I used nitro for each color, I might still be waiting to spray my 5th color. The stewmac nitro cans are usually great. I have used enough of them to comment on them - that's for sure. Once in a great while, you might get a spit but it has been very, very rare for me. I usually don't let the cans go much below 1/3 full before switching to another - maybe that's the reason - I don't know. I have seen some outstanding guitars built by people here using rattle cans and I don't think there is any real need to spend the big cash for automotive poly equipment unless you plan to build professionally. Maybe a better alternative would be to pay someone to spray that stuff for you if you really aren't thrilled with rattle cans? I guess it all depends on your bank account and future plans.
  4. Does anyone know what Fender is doing or what their plans are for the Strat bodies and headstocks that are so widely copied around the world? Are they ever going to try to put a stop to it or are they screwed since they have let it go on for so long already? I don't personally care about Fender but I have seen soooo many variations of the Strat it just makes me curious. I'd also like to know how it is determined when it is a copy/theft and when it is just a similar looking instrument. Is it just up to the judge to determine this or are there actual guidelines that spell this out?
  5. Well, I never thought I would do this but here I go: This is an Ibanez shaped guitar (built from scratch) with the following: Two piece alder body 5/16" quilt top (bent at arm rest) Birdseye/bubinga/ebony/bubinga/birdseye neck with curly maple headstock 10 to 16" compound radius ebony fretboard with sterling silver inlay EMG 81/SA/85 (B/M/N) pickups with 5-way selector OFR shimmed to about 18" radius 6100 frets The finish is actually an emerald'ish blue/green although the pics mainly show the blue for some reason. It also has a fade to black on the edges. It's no LGM - I know . Back of neck Body shot Standing by the toys
  6. Buying one certainly seems like the best way to go. I do mine with an airbrush and a custom made stencil from a sign-makers shop. I tried using the transparency method but the edges always showed terribly for me. With the stencil and paint, it's quick and looks clean. I think it would only make sense to do it that way if you were planning on doing a bunch of guitars though.
  7. Just curious about the saftey issue - why is it safe for skin but not for finger nails? I'm probably not understanding it but if it can cut through stone, what would keep it from ripping right through a finger? I'm also confused as to why it's safe to use kerosene as a lubricant when cutting harder materials? Doesn't it heat up and become a risk of catching on fire/exploding? I'm not doubting that you know your facts - I'm just curious about the reasons behind them. It looks like you did a great job creating that tool. Thanks for sharing the info.
  8. daveq

    Toneless

    Thanks lovekraft. I should have worded that a bit better - what I meant was that I would be willing to build these for PG members at a very reasonable cost (just price of parts plus time for soldering) - the way I worded it sounded like I was going to try to make a living off selling them which is not my plan. I'll check into the info you just provided - thank you so much. Is impedance scaling the same concept as normalizing? I did find a similar company that builds custom pots but they also had a $1000 minimum . If I ever come up with anything that really blows me away, I might consider doing that. In the mean time, I'll most likely be finding work-arounds. Thanks for the inspiration - I've been away from electronics for so long. It feels great to be back in it again.
  9. daveq

    Toneless

    Thanks, umm - let's see - what I ended up doing was figuring out how most graphic eq's work and then scaled it all down to it's simplest form (to conserve space and keep the electronics theory at a minimum to save my brain from hurting ). The basic element of the EQ (graphic or parametric) is a gyrator circuit. It's main purpose is to simulate an inductor. There's lots of examples of gyrator circuits out there but not many that really explain exactly how they work. The gyrators I used were based on transistors instead of opamps. I'd like to try a board layout with opamps someday soon to see if I can still fit one inside a control cavity or not. The opamp gyrators are supposed to give much better performance so I think it would be worth checking into. If you need schematics of existing eq's, let me know. I have a couple of them - one of them is the BOSS GE-7. I think I can fit that into an onboard unit but I don't know if I could make a dual channel unit fit. The difference between a parametric and a graphic EQ is that the parametric is adjustable in it's frequency range. A graphic EQ has several fixed freq's that can be cut or boosted. I think the ideal tone control for a guitar would be a mix of graphic and parametric EQ's which is what I've tried to do here. I'll let you know when it's all done if I've really succeeded or not. I've tested them individually and was honestly surprised that they actually worked as well as they did! I'd like to make them available to PG members soon (if there's any interest). The price would be much less than what EMG sells their stuff for. I just need to make some adjustments such as adding a level control to the graphic EQ (and see if I can reduce the size of it) and some other small things. The parametric EQ is sweet but I really need to find a better pot for it. I need an exotic combination of 10K/1M which I cannot find anywhere. The one I'm using now is a 500K/500K which works but doesn't perform at it's maximum potential. Thanks for the reply - DaveQ
  10. daveq

    Toneless

    I haven't decided on exactly how I'm going to switch it yet. I thought it might be nice to just have a single toggle switch that completely bypasses all of the EQ's but I'm not sure yet. I've also been thinking about being able to force a certain channel to be used (on the 5 band graphic EQ) via a toggle switch. Most likely, I'll end up keeping it simple with one pickup assigned to a channel and have one bypass toggle. I have one more circuit to add - a boost similar to the EMG booster or the Seymour Duncan pickup booster. It should end up something like this: - Volume pot with push/pull for pickup selection - Parametric EQ (dual concentric) assigned to the bridge pickup only - Gain pot for boost circuit - toggle switch for bypassing EQ's - toggle switch for killing the boost circuit 3 pots, two toggles. (I may eliminate the gain pot and just dial it in from the back - I don't know yet)
  11. daveq

    Toneless

    I'm one of those guys who doesn't use the tone pot ever so I decided to check into other ways to adjust the tone on my next project. I'm building another all maple guitar (I love them) and wanted to use something similar to the EMG-VMC since I have one on my tiger guitar and love the way it works. The VMC is pretty expensive though so I wanted to see if I could build something similar. Lovekraft and Ansil have really inspired me to crack open the old electronics books and see what I could do (those guys rule!). So, what I came up with was to build an onboard 5 band graphic EQ. It wouldn't make much sense to put it onboard if it were just a single channel EQ so I made it a dual channel. The idea being that you could then use one channel for each pickup (it's a two pickup guitar). That way, you could adjust the sound of each pickup without having to hit a pedal when switching between lead and rythm, ... I got that working and was happy with it but I still wanted something similar to that VMC control. To accomplish this, I decided to build a simple parametric EQ with a frequency range of roughly 600Hz to 2.7KHz (you can boost or cut any frequency in that range). The frequency that I was really after was about 2KHz but having a range selectable was an added bonus. I plan to wire this into the bridge pickup only (I think). The project isn't done yet but I'm so happy with the results, I wanted to share it with you guys and take the oppotunity to thank Lovekraft and Ansil for their inspiration. Here's the pics: The dual 5 band graphic EQ: The parametric EQ:
  12. OK, well - I was just looking for an opinion on how much the jig contributes to comming out with a great playing neck. I have read that article and I do understand the idea. Concerning the repeatability issue- What I mean, is - if the device measures a 5mm thick piece of plastic but the plastic is actually 5.3mm - BUT it always measures it as 5mm - that would be a good degree of repeatability but not accuracy. From what I know about the jig, the actual accuracy of the indicator isn't important but the ability of the indicator to return to the exact same position is. From what I remember, you're not actually using them to measure something but using them to return to the same exact position. I don't want to turn this into a big argument but I just wanted to make myself clear. I've done some more research and found that repeatability is usually spec'd on dial indicators - that's really all that I was trying to find out. I'm glad to hear the harbor freight indicators are working well for this - those things do come with a great price. I've also heard that some people really like their power tools as well but I don't want to start that debate here. Great tutorial GF and thanks again for that parts list!
  13. Frenzy - I was just about to send you a PM asking if you had time to work on the neck jig tutorial and then I saw it listed here! I really appreciate the effort you put into it and especially like the parts list. I wasn't expecting it to be a difficult project but the parts were the one thing I was concerned about. You've taken my worries away! Do these jigs improve fretting work noticeably or is it one of those things that takes time to get used to? In other words, when people start using them, should they expect to see the benefits right away or does it take time learn how to get the most out of it? One last question - the dial indicators - I'm thinking that the biggest issue with them is repeatability and not so much accuracy? Are indicators typically spec'd to show repeatability or is it just something you have to hope for? I ordered some from an auto-repair supply company a while back but I don't remember if they had any info like that. Did Harbor Freight list info like that? Thanks for posting it when you did - you just saved me a bunch of searching. DaveQ
  14. I'm just concerned that Frenzy may scare some people away with his view on nitro spray cans. I don't think you meant to say that it cannot provide a good looking finish (right?) but when you say that they should just throw it over the fence, that might mislead some into thinking it's no good. Here's a couple of pics of a guitar that I finished using stewmac nitro spray cans. I'm not trying to say that it belongs in the hall of fame or anything like that but I think it came out quite nice. I have recieved several inquiries from people here on project guitar concerning how it was done - it was done with spray can nitro. I don't consider myself anywhere close to being a finishing expert so all I can go by is my experience with what I've done in the past. Of course, if you want to add color to the nitro, then you'll need to use a spray gun. Here's a shot of it UNFINISHED: Here's a couple of pics after the nitro has cured (mostly )
  15. Frenzy - I've actually had very good results using cans (for nitro clear). I don't know why you've had trouble with them in the past? I'll throw one other thought out there - the tutorial that Dan Erlewine does for stewmac (the blue quilt Tele) is done with cans and he did it during the winter. He has more experience than most people but he shows that it is possible to get an incredible finish using cans in cold weather. Thanks for sharing that info Jeremy. I was not aware of that warm water trick.
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