scorpionscar

Hi folks, I`m restoring a double neck guitar. In the control cavity there is a yellow cable (red, white and bare). Red and white are connected to the switch and bare to ground. In the other compartiment, the yellow wire with the red and white, the white goes to the center lug of the pot volume but the red one (which I'm holding in my fingers in the pic) is not connected to anywhere. The black wire (with red and white too) follows the same pattern and both white and red are connected togueter in the switch and in the pot lug. My question is where do I solder the red wire I'm holding in my fingers. Thanks in advance. Scorpionscar

This bass guitar is named "JBalado". Tech specs: Body: Alder Neck: Maple with carbon reinforcements Fingerboard: Ebony Scale length: 34" MOP square inlays 24 wide/high aleation frets Bone nut Pick ups: Aguilar Pre amp: Aguilar active/pasive with Mids, Treble and bass EQ ABM single saddles Tuners: Hipshot Strings: Daddario Finish: Polyurethane "Vintage white" high gloss Is my first bass build and It was built in my shop. Hope you like!!! Scorpionscar

Hi guys, I've just finished a new project and I'm having issues with an annoying rattling sound. At first I thought it was in the bridge pick up (both wear cover), but changed for other pups and the problem persists. It has an ABM 2 point bridge. Any ideas about what is causing the problem? Scorpionscar

Hi guys, I'm working on a Strat style project with the neck glued to the body. I want a natural transparente finish. I sprayed a washcoat of sanding sealer and after that filled the grain with aquacoat and another coat of sanding sealer. The problem here is that I ended up with white dots at the boton of the guitar and the rest of the pores were supposed to be transparent, but the effect is more lile white. On the other hand there is a little cloudines in some areas that turn the finish in an opaque thing. On the other hand, In the inner zones of the horns are areas which don`t allow to see the natural pattern of the grain (this problem is no due to the grain fill, however I notice it happens in those areas where the grain of the wood go in various directions. I don`t know the name of this problem, but is maybe caused by a non correct sanding tech in this area? When I'm in sandin process seems to be not visible, but when applying the finish appears. How can sand this difficult area correctly? I decided to strip the finish and re-do again because the result was horrible. What should I do in order to fill the pores? I've tested all types of pore fills and have no enconter one that works for me. Too much sanding work and risk of sanding throughs, appar from some grain fillers tend to tint the wood a bit. The body is Honduran mahogany and has a lot of grain and I want a mirror effect finish. Which method do you use for grain fill? Do you think is best seal the wood and then pore fill, or pore fill directly to the bare wood? Tell me about your experiences, I need a perfect finish. Thanks in advance!!! Scorpionscar

Hi guys, this is my last built, my first seven string guitar which I finished a week ago. Her name is "LUCIFER" and the specs are as follows: Body: Swamp ash with a walnut central block Top: Poplar burl Neck: Mulitlaminated alternating maple-wengue-walnut Fingerboard: Ebony Scale: 25.5" Joint type: Set neck glued on Bridge: Kahler black Tuners: Gotoh black PUPS: Seymour black winter in the bridge and Jazz in the neck Number of frets: 24 Jumbo Number of strings: 7 Electronics: 1 Volume, CTS pot and 3 way toggle switch Finish: Satin polyurethane on the back and high glos on the top and headstock Hope you like. Best regards from Spain and happy new year!!! Scorpionscar

Very interesting!!! No one has experiences with walnut guitars, tone, weight, feeling.... Scorpionscar

Hi folks, a customer wants a guitar, Telecaster shape with arm rest and belly contour (Exactly based on a Yamaha model which is quite smaller than a traditional Tele), a neck of maple and set through joint glued on. At first instance we talked about spanish cedar, but due to he wants an oil and wax finish, I've talked him about a solid walnut body. The guitar is going to wear a bridge humbucker and to play rock. I usually use walnut but never for a solid body and really don't know much about its qualities as a tone wood and also about the weight. I'm open to suggestions and your experience.

When Leveling frets, starting from a perfect radiused and uniform fingerboard, and the fretwire is uniform, I notice that sometimes is needed to remove too much material. In my last leveling, the process was too quick, only some passes with 400 grit leveling bar. I know that the first step is to put the neck as stright as possible, however I notice when I use the notched ruler that there is a slight concave gap in the center of the neck, this relieve is difficult for me to straighten, sometimes I have to appeal to visual inspection (as If I were to shoot a gun like in the second pic). I use an arbor press and the frets enter perfect, there is not much choice that some of them sit lower becouse the ebony is too hard.... The ideal thing would be that the leveling process were fast and easy, however most times is tedious. What are your thoughts about this? Scorpionscar

I have a blade strato style guitar with Levinson pups. They have a grid (ground, in the picture=black cause was too short and I had to solder a black one), white and red wires. Does anyone tell me the color code? I think the red=hot and white goes soldered toguether with the grid to ground but not sure. Any ideas or how to identify them with the multimeter (Not very experienced using the multimeter for this purpose..) Scorpionscar

Does the shaft is solid or is not properly push the piece to it? I have one I made with the engine of a washer machine with a frecuency variator. The problem is that the grain of the sand tends to mark the guitar due to the lack of up-down movement.... Scorpionscar

I have in mind to purchase one of this. Do you recommend it? scorpionscar

All of you are right, I've solved the design with an angle, The anatomy of this style of guitar requiere it, and the khaler, although is not taller in excess, can be adjusted a lot, so I decided to angle the neck. As you say Prostheta, I have the option of recess the bridge, or raise the neck, this is one of the advantages of this type of construction (set neck). About the nut, not very clear what to do... I`m going for a laminated neck for stability, with a double action truss rod. Do you think is necessary reinforcements of carbon fiber? What profile measuremts should I use in the first and 12th fret? Scorpionscar

Hi, I'm designing this guitar inspired in the ESP Eclipse. It is going to wear a Khaler stud mounted bridge 7 string, but never have dealed with this before! - Does anyone know if the ESP Eclipse has a neck angle? I know it depends on the bridge but is an importand information in order to solve the body-neck joint. I point out that is a set through building, no long tenon in the style of Les Paul, cause I want to combine different types of woods in the heel zone. How would you solve the joint? neck angle, no angle, how many degrees?... - On the other hand, do you think is necessary a locking nut or it would be posible to use a normal bone nut with the khaler? (The tuning machines will be Sperzel with lock system. Thanks in advance!!! I'll describe the entire process of the building here in the forum. Scorpionscar

I have to mount this tremolo on a Telecaster guitar. Never have donde this before, I have two questions: Do you think is possible? and the customer wants to install a Tune O'matic type bridge, What would you do, Make a shim to elevate the neck height at neck pocket or recess the body so as to allow the bridge decrease height? I don't want to alter too much the structure of the guitar in case the owner of the guitar don't like the final result and want to go the previous point.... On the other hand never deal with this model of bridge and don't know how to fix the spring and allow it to be in place. I put a photo of the stock... Scorpionscar

This weekend I've been working on an idea to improve a cheap drill press in order to get the distance between the center of the chuck and the column. Habitually this distance is about 110 mm, is not enough for drilling string body through holes or the holes for the studs of Floyd Rose or Tune O'matic. I'm going to use an old drill press that had stored into my workshop. The task is to dismount the column and screw a platen of 50 mm x 10. Due to the reduced space betwenn the chassis of the drill press and the engine, It was necessary to countersink the drills of the platen, I made screw threads on the holes in the chassis of the drill press. The best of all, I spent less than 20 €. Some photos: The new distance now is 156 mm, more than we really need. Now it's time for preparing the base for the drill. It consists in a platen with three holes for attaching the base at the workbench, another vertical platen 50mm X 10 and a cartouche in order to reinforce all the structure. I drilled both platens each 30 mm in case it's necessary to move up. I painted all satine black and mounted all toguether. For the three lever I used M8 threaded rod in which I filed a recess for tighten with the wrench. for the extremes I made three pieces in the lathe out of beech wood. Then I painted red for a more realistic achievement. And now the finish product: It works perfectly and is no need to purchase a bigger/more expensive one in order to what I mentioned above. I hope you find this topic useful. Happy start of week. Scorpionscar

Thanks Drak, I'll do it. Thank you so much Thank you Curtisa. I'm going to try it!!! Scorpionscar

Hi, I have a question about an EMG circuit. The guitar is HSS. It has a master volume push/pull in order to do a split coil function. It has a tone push/pull pot to activate an SPC All the pick up wires form the pick ups go to the correspondient section in the switch, battery wires no problem, and a green wire from the switch to the output jack, no problem.... The task is how do I connect the master volume to the switch and If I need to connect between master volume and tone. Sorry but not very familiarized with EMG pups. Thanks in andvance!!!

I agree. I think the same, two tops and fill with epoxy cause in the zone of the carving in the horns, the spalted maple is deep inside. There are interesting ideas that come to my mind... Scorpionscar

Hi guys, does anyone know hot to do this out-standing look guitar. the first one seems to be a combination of dying and natural, but the second one is like the spalted maple were inlayed into the flame maple. Any ideas?? Scorpionscar

Thank you so much ADF, a really useful and instructive vídeo. Scorpionscar

Hi, I'm working on a Les Paul style guitar and want to make a faux binding taking advantage of the maple. The task here is how to achieve a perfect line, expecially in the upper surface, about 1.6 mm thick. I want to tint amber and them a cherry red burst. Any ideas will be wellcome. Other doubts are: - Do I need to to do the finish after or before glueing the neck to the body _ What do you think is best, leveling/crowning after or before glueing neck-body? Thanks in advance. Scorpionscar

Today I glued the fingerboard to the neck. Due to the issue with the fingerboard, I pointed out that I wouldn't be easy to attach it to the neck, so I glued first four pieces of maple to the neck in order to help to put in place the fingerboard properly with no error. After applying the glue to both surfaces, I placed the fingerboard and counter the bow with two clamps, them I used tape for fixing the fingerboard firmly to the neck, removed the two clamps and put a radioused block that covers the whole fingerboard and applied strenght. I think I could save the fingerboard and the project, but always with the heart in the throat. Scorpionscar

Thank you so much for your explanation. Very useful in future projects. By now, I'll try to save this one and the worst of all, How I'll take in place in order to glue it to the neck. When te project is finished, I'll post the whole process. Scorpionscar

Thank you so much for your answer ScottR, is important hearing this from you as an experienced guitar builder that you are. I almost always use ebony for my fingerboards, but it's true that normally I glue it to the neck first, this prevent this effect, however is more difficult to place the frets in the slots with the arbor press due to the neck angle, the heel etc... What do you think is better, fretting the fingerboard before or after attaching it to the neck? Thanks in advance. P.D Can I glue the fingerboard to the neck or should I throw it away? Scorpionscar

This is a pic of the effect. Really don't understand what happened. I've done this a lot of times with no problems. Filed the barbs, caus was impossible to fit the tang into the slot, instead, the tang entered too fit and due to this, the fingerboard bent. Scorpionscar