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Everything posted by pan_kara

  1. PRS-like project(s)

    you could seal the sides with shellac before staining to make sure you don't touch them.. that's what I did when trying faux binding once
  2. true, but is that really really necessary? I mean supporting (blocking) the nut from the tuners' side. I went and took a look at my guitars - I have a high end Mayones and there appears to be nothing on the headstock except paint (so there might be a tiny ledge created). On my Etna build I just cut a ledge in the fingerboard (it was so thick that resting the nut on the neck itself would have made it too low. Clearly there are ways around this
  3. Four new rockers are coming to life

    I think my preferred order is different from either of the two - I cut the fingerboard to shape first, then glue it to the neck that is rough-cut and then use the fingerboard as a template to trim the neck. But that works since I do the radiusing after that (and fret slots before). For a fingerboard that's already radiused that's more tricky since you lose the flat surface for the router (unless you go from the other side and that is still flat). There I'd probably do as Scott says - glue and then trim both. Or glue the fingerboard and trim it with the neck as a template. I'd never cut both and try to glue later, in my case that's asking for disaster. Or at least I'd need to be very precise with avoiding a slip during glue-up which is something I always have problems with, and here you pretty much have zero margin for error.
  4. what about no headstock cap?
  5. Router bits

    Have you thought about fixed rings Scott? For pickup cavities I typically use the stewmac bits, plus a normal template bit for bigger things. But I'm trying to transition to spiral bits with fixed template guides since I don't seem to find spiral bits with bearings, straight bits are much easier to come by. But that's mostly for things like body outline etc and requires a new set of templates. For cavities I might stick with what I'm using for now
  6. Four new rockers are coming to life

    nice, I'm liking the jig work. I somehow never thought of a double template setup for neck pockets, will have to remember this trick
  7. yea, on cars people normally take scratches out with polishing alone, sanding is really something that people typically are reluctant to try
  8. yea, on cars people normally take scratches out with polishing alone, sanding is really something that people typically are reluctant to try
  9. no no, micromesh first, then buff. If you only have swirls in the clearcoat then you probably don't need to sand at all. Just buff with an automotive polishing compound. Sanding does produce scratches, but going from coarse to finer grits makes the scratches progressively finer - with the finer grits removing the scratches from the coarser ones - so just like sanding wood. In general I think the same principles apply to most clearcoats that people use, both on cars and on guitars. There is a large overlap. Buffing can be done by hand (at which point it will take longer), or by machine - depends what you have available.
  10. Kemp Guitars UK Build Thread #2

    There was supposed to be some kind of ergonomic benefit from the fan in the higher positions, but I have too little experience with multiscale to have an opinion on that. I only played one and the fan turned out a bit extreme, high positions are confusing to play for me at the moment. I guess one clear benefit of angling the bridge side is the fact that you can have a bigger scale difference before you get into ridiculous fret angles at the nut. Zero fret was my plan exactly. Combined with a standard locking mechanism. Aslo gets you out of having to do a compound scarf
  11. PRS-like project(s)

    I hear you. Any time I can get away with not having to spray is good for me yes, that is a bit different sure, from what I remember also less wood texture comes through. So yours has a different twist to it
  12. Kemp Guitars UK Build Thread #2

    Sure, in principle not - I asked because it looks to me like these are meant to have the bridge perpendicular, which is actually I'm thinking of doing for a guitar with a Floyd Rose
  13. I tried to wait with starting another batch of builds until the previous ones were all done, but this is taking too long I CAN'T RESIST. Besides, Etna is really almost done, just waiting for a break in the rain so that I can clearcoat the body. So I have already glued up a bunch of laminate necks and did scarf joints on most of them, plus a few body blank glue-ups. But the project I want to share here is this: its the remains of a strat body that used to be black. My youngest brother bought it for almost nothing some time ago, and I have been swapping out parts of that guitar since then. Right now the only part left from the original is the neck and I'm building a new one right now. The body originally had a very quick&dirty conversion to hardtail and black spray job, and after I replaced it with a new one I started removing both the paint and the wood glued in the trem cavity and in the end decided that the whole center section was in such a bad state (falling apart) that I basically just cut it out. revealing a table-top-like laminate construction of the body. Most of the paint went off after heatgun treatment, the rest will probably be sanded off or I'll spray primer over it, I'm not sure yet. Meanwhile I had some ovangkol cut-offs from a neck-thru section of a guitar that will someday become "The Angry Druid" (a 2.0 version of " "). The size of these is enough for them to fill in the empyt space in the center of the strat body, making basically a "half neck-thru" construction. Since this is a scrap build and I'll be keeping the guitar for myself I decided to put all of the crazy ideas I had or wanted to try out into this build. It will retain the strat body outline, but apart from that it will be completely messed up. At the moment here are some of the features planned: 7-string multiscale (I already got the ABM single bridges for it) 3x single coils wired like Brian May's Red Special (in series with phase switching options) swirl paint job on the body its gonna be fun. (for now I need to work out the non-perpendicular scarf joint and its messing with my brain)
  14. Kemp Guitars UK Build Thread #2

    So you have a left- and right-handed multiscale in that neck collection.. where is the perpendicular fret for those - the bridge?
  15. PRS-like project(s)

    hah nice finish with that gold indeed, I wonder where you can take this. Mayones do something that they call "vintage gold" or "vintage silver", seems to be having a similar vibe. I also managed to almost rout through the control cavity like that once, realized early enough but also had to glue some wood in, as it was getting too thin.. but with an opaque finish you should be covered.
  16. All right, this time the clearcoat polished up fine. I didn't fully level it with wetsanding except a few places, didn't want to push my luck (and I didn't put a whole lot on), instead I reduced orange peel a bit just by buffing, the end result is pretty good. I even managed to get the insides of the cutaways nearly perfect after a session with the micromesh sanding pads. I've put all the hardware on so now it's just the remaining bit of setup work. I think I'll need to file the bridge saddles down a little, my neck angle (and fb thickness) ended up a little on the low side and I can't get the action as low as it should be on the treble side. Actually everything is low profile, the pickups are sitting almost flush with the pickguard.. I need to watch this more carefully in the future.
  17. I might try that at some stage, the white outline could save it a bit - but for now I think I'll just go back to the black pickguard. Hopefully soon. Wetsanding and buffing has started. For the record: I finished fixing photo references, this thread has all the pictures back, where possible.
  18. Here's a video I did some time ago about a guitar I built for my daughter's 7th birthday. Initially I didn't post it here since I figured this is not really the target audience, but then maybe somebody will find parts interesting or amusing. Also I watched @sdshirtman 's videos and figured why not (BTW where is part 6 of the Helix build??! ) So just a word of introduction: I tried to film every part of the build process. Some parts are missing, mostly tedious jobs like sanding etc, also I think I lost a clip or two - but in total this was something like 9h of video material that I compressed into 13 episodes of around 10-15 minutes each (mostly by speeding up the footage). There is a lot of narration because the aim was for the video to accompany the guitars, i.e. I'm explaining the build process in a way that someone with no idea about guitar building could understand. Possibly even a 7-year-old. Also (as I keep stating in the video), this is not a how-to, it's more of a "proof that you can build a guitar in the kitchen" video. I'm probably doing some silly things here or there, but the end result is perfectly fine. Oh, and it's all in Polish - but I subtitled the whole thing in English. Anyway, here's the playlist with all episodes:
  19. Oak for body

    Actually I'm taking this further now, the hannes thing was my first try and it didn't get anywhere (which was my fault as it appears). But now I want to be able to test pretty much anything (within reason) - fretwire type, nut material etc etc - ending with the wood choice if the method works fine. BTW Andrew, what you mention is exactly what I'm doing - taking the player out of the equation. Not with mechanical devices but by describing the situation in a way that cancels out the player (more precisely - is insensitive to the initial conditions for the vibrating string). So, shall we wrap up our thread hijack? We can discuss all of this in my thread and I'm waiting to see @Flamesong's oak body !
  20. Oak for body

    I wouldn't take it that far, I'd just say that how the guitar influences the player can have a bigger impact of that the listener gets to hear than things like the components/wood/etc That depends how much he'd be willing to trust you Of course we can take everything to the extreme and of course there are differences in sound between guitars. My point was just to mention another factor that could play a role. I do have a guitar that I brought to a rehearsal once and all the band complained about how crappy it sounds. (It wasn't the pickup, I put a pickup that I used in another guitar for many years before and nobody ever complained). One day I'll try to figure out what's wrong with that guitar exactly.
  21. Oak for body

    Mass is only one of the things that impact sustain. At minimum the string looses energy by flexing itself and moving air around it. Then the more other things it sets in motion the more energy it loses, decreasing sustain. Make a soft and heavy body it will lose energy to flex the body. If we make a stiff and light one it will make the body vibrate. If we have no body and stiff anchor points (Andrew's example) we pretty much maximize sustain (we can only get more by sucking all air out and playing in vacuum). The "mahogany sounding LP in a recording" is also something I always thought as a good argument in the whole debate on the subject, so let me offer a counter-argument that I came up with after giving it some thought. Well maybe not "counter", but another point of view: If (and I stress - if, because that's another discussion) you manage to impact tone with some features of the guitar like wood, high end caps, whatever voodoo you like - and if the player perceives it (or thinks they do) - maybe it impacts their playing? Not really the tone that much. In other words - for the listener the tone is indistinguishable from anything else (especially in the mix, after EQ, fx, mastering etc), but the actual playing is different because the instrumentalist is feeding off the instrument in a different way. I was thinking about this in relation to fancy tops, fingerboards and the like (let's say the visual side of the instrument) - they might have nothing to do with the sound, but - Hypothesis - when I'm playing and glance at my fingers moving around this super-cool fingerboard it just triggers this extra bit on inspiration. An old worn guitar will make you approach playing it in a certain way. A guitar with some history also will. The mojo is in the guitar-guitarplayer relation. Concerning knots - I wouldn't put a knot under the bridge, neck joint or in the neck. Anywhere else I don't see a problem.
  22. Osorio - The four years gap

    Beautiful!! I adore the body finish which to me looks like some dark old furniture, with the super-modern specs - 7 strings, multiscale etc. Plus all the little touches like the unusual carve etc. Truly awesome!
  23. Guitars and Numbers

    So here's a little sample from my current initial study that will probably form episode one. I recorded a series of notes on an open A string, hitting it in different ways: note 1: normal pick, normal position a little in front of bridge HB 2: back - above bridge HB 3: front - above neck HB 4: middle - above 12th fret 5-7: soft wood pick, normal position 8-9: hard wood pick 10-11: shell pick 12-13: finger pluck 14-15: metal wrench Then I did my analysis on 40 (!) harmonic components of the sound. Yes, with the piezo I can still make out the 4400 Hz overtone from a 110 Hz low A - though it dies out completely in 0.5 seconds. So for example here's the 440Hz overtone - aka 2 octaves of the 5th fret natural harmonic: You can see that it can be of different strength initially (for example over 90dB when plucked with a hard shell pick or about 70dB when plucked with a finger), but the exponential decay is nearly identical across all notes. The only thing is the weird oscillations present in the 3rd note. Overall the overtone decays at 5.4 +/- 0.4 dB/s (average from the 15 measurements). If we look higher, for example at 996 Hz, we have this: still pretty consistent, though the oscillations appear to be confusing the straight-line fit a little so there's a bit more variation, overall we clock 10.6 +/- 1.2 dB/s. So what are these oscillations? For some frequencies they're there always (though can vary in size), and for some they come and go depending on the note. In general this type of modulation is a sign that the oscillator I'm looking at is coupled to another oscillator of a similar frequency, in which case energy will flow back-and-forth between them, causing this modulation on top of the normal exponential decay. The "other oscillator" can be several things. First of all it can be the other transverse component of the vibration - the piezo is mostly sensitive to up-down motion in the guitar plane (into-away from the bridge), but there is also the sideways motion that can in general have a slightly different frequency. The string is not anchored in the same way in these two directions, for example it might move a little side-to-side in the saddle, thus detuning the "sideways overtone" slightly and causing this "pumping". This I managed to observe in fact, I did a test with another guitar plucking the string with the same pick, in the same place, but with different motion, trying to have more of the sideways vibration one set of notes, and more up-down vibration in the other set. And indeed for some harmonics I see the modulation only appear (or be more pronounced) in one of the groups. For example: and: (first three notes are hit in one way and the subsequent four in a different way) For some overtones it's less clear, sometimes the vibrations are there in all cases, sometimes the behavior is more erratic. But it does appear that their presence is in most cases correlated with the type of pick attack. What this means is that if I try to maintain a consistent style of picking for all studies I will probably get a more uniform set or results since the straight-line fit is a bit sensitive to these oscillations. On the other hand I don't see a systematic effect (like pulling the slope measurement in one direction when the oscillations appear), so in the end I should be fine whatever I do. Other things that could be causing these oscillations could be the interference with longitudinal vibrations in the string (there's also torsional vibrations i.e. the string core rotating around it's axis, but it appears that those can be ignored) or vibrations is the "rest of the guitar". Both are something I just have to live with - it will be interesting to see how that pattern changes when I change different components of the system. But that's for later.
  24. I've already mentioned here and there that I'm going to try to do a comparison between the Hannes bridge and a no-name cheapo hardtail. The aim it to try to see if there is any measurable sound difference between the two. Meet the test mule: this is an alder body with an RG shape, currently wearing the Hannes bridge and a Lace Alumitone wired directly to the output jack. The neck is from my Nylon One build (I'm currently putting some TruOil on the top of that one and I took the neck off for that). The idea is for the tests to be objective, I'm at the moment in the process of writing the numerical analysis code and checking first results. If this works the plan is to try mounting different necks to the body (the body was in fact meant for that) to see if I can measure a sound difference there. If this is successful, there are many other things I'd imagine I could test - stainless vs normal frets, different nut materials, loose vs tight bolted on neck etc etc I will be collecting ideas - assuming the first test gives me any meaningful results, so stay tuned for that.