Jump to content

Entry for September 2018's Guitar Of The Month is open!


Established Member
  • Content count

  • Joined

  • Last visited

  • Days Won


beltjones last won the day on May 27

beltjones had the most liked content!

Community Reputation

47 Excellent

About beltjones

  • Rank
    Established Member

Profile Information

  • Location
  • Country Flag

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. That looks amazing.
  2. You are an absolute artist with the wood carving and the maple dying. I don't mean to leave out any other areas where your work is superb, I'm just blown away at what you can do with a gouge and some wood dye.
  3. Yeah, just regular old glue stick.
  4. Fretboard is radiused, dots are glued in and sanded back, and frets are hammered in and beveled. Now I'm carving the necks. Previously when I carved the necks the temperatures outside were very temperate, maybe even cold by Houston standards. These days it's hot as hell and humid as the bottom of a lake, and man, ten minutes into neck carving I'm drenched in sweat. On the last (first) guitar I enjoyed every minute of working on the neck, with these two I have to bring a spare shirt to the garage when it's time to work on them. On the plus side I LOVE how that curupay fretboard looks, and in time it will turn a very warm brick-ish red/brown when exposed to UV light. Here is a preview:https://www.woodworkerssource.com/blog/wood-conversations/curupay-unlike-any-other-wood/ That leads me to an issue. The one on the right has a 25" scale, the one on the left has a 24" scale, and my slotted straight edge is for 25.5" and 24.75" scales. After I finish carving the necks, and it's time to level frets, how do I make sure the fretboard is perfectly flat? I'm thinking about cutting a few new slots in the my existing slotted straight edge with the band saw. Does anyone have any better ideas?
  5. When I started building these two I told myself I was going to take beaucoup pictures so I would be able to show my son how I built his guitar in time for his first birthday. Well, I have failed in that, but I have made some progress. The neck blank is cut down and the fretboard is radiused. I haven't actually installed the fretboard markers - that's just blonde sawdust filling them at the moment. I'm trying to decide between mother of pearl, green abalone, or black abalone. For this one I'm thinking mother of pearl because the purpleheart laminate neck is already pretty colorful.
  6. beltjones

    Bent side ES style

    I'll be following this one.
  7. Here's my progress for today:I was drilling the access hole for the truss rod adjustment nut as shown in this picture here:Well it turned out I mis-aligned it a little and when I did a test I couldn't get the allen key into the rod. No problem, so I grabbed the drill and wallowed out the hole a little bit. That, my friends, is when I did a really stupid thing. Somehow I managed to remove a bunch of wood from the bottom of the wider part of the truss rod route. It should have been about .40" deep, and I drilled a bit of it .609" deep. At first I figured "Big deal, the truss rod will go in there, the fretboard will get glued on, and no one will ever know." Then I did the math and figured out that the fretboard is .3" thick, and that means the smallest I can shape the neck at the nut is .909" before I open up the truss rod cavity from the back. I don't like a big baseball bat neck but I could live with one, but this guitar is for my son, and it has a short 24" scale length, and a big old traffic cone neck isn't going to work for him. Crap. Then I did another stupid thing and figured while I ponder the mistake above I could shape up the neck blank on the band saw, the after effects pictured here:Then it occurred to me that if I hadn't just cut the neck blank to pieces on the band saw I could have just shifted the nut down about an inch and a half, made a couple of quick re-routes to move the truss rod down toward the heel, and my problem would have been solved. I figured in order to could either remove wood from the top of the neck blank, or from the fretboard. So I went with the path of least resistance and used my home-made router sled to plane the fretboard down to .200" thick. After removing a big of wood when I radius the fretboard I should be able to comfortably carve the neck down to about .850" or so and not worry about punching through to the truss rod route. It is a very thin, fenderish fretboard now though.To finish up I grabbed the body wings and mocked up how the guitar is going to look. Not bad. It will have a single humbucker in the bridge and two controls. No top on this one. It should also be quite a bit lighter than the last one, which is good. I also want to leave it plain enough that maybe he will want to build a fancy one with me some day, and also so that one day when he's 13 and screams "I hate you dad!" and smashes the guitar I won't feel too bad about it.
  8. Oh yeah. In addition to about a million other hobbies I'm also a cigar smoker, and this is what the inside of humidors are made of, so every time I go to the garage it makes me want a cigar. I'm just doing my best to not ding up the cedar too much, and hoping that once I get some tru-oil on it it will harden up a little bit. What do you think?
  9. I made more progress today. I used my 5 minute, $1 MDF truss rod routing template to route the slot in my son's guitar. Then I cut the angle on the headstock. Then I prepped the Peruvian walnut / Spanish cedar for the body of this guitar... Then I cut them out on the band saw and glued them up. Later I'll get the neck blank shaped up and glue on the body wings using dowels to locate them.
  10. I'm not an expert on wiring, but with 50s wiring the tone caps are connected to different lugs on the volume caps than modern wiring. The result is that turning down the volume pot doesn't bleed off treble like it does with a modern volume pot. I need to be better about taking pictures. Today I cut fret slots on both fretboards using my 5 minutes MDF fret slotting jig, and I started working on body shapes. I ALSO realized that I totally fouled up the black limba body blanks I had planned to use. So now I need to think about whether to try to save them or just head back to the hardware store to see if they still have that 5/4 piece of mahogany they had last time I was there.
  11. My son just turned 8 months old, so I figured it was time to build him his own guitar. At the same time I'm going to build one for myself as well. The blank on the left is for the boy. It's purpleheart, tigrillo, and wenge. The one on the right is for me, which is four pieces of book-matched bubinga. My son's is going to be a 24" scale, 22 fret single cut with Spanish Cedar wings and either a Peruvian walnut or curly maple top (I haven't decided which) and a curupay fretboard. It will have a single bridge pickup (an SD pearly gates humbucker I have leftover from another project) with a volume and tone control wired 50's style. I had to order a shorter truss rod for it, so while I'm waiting for that to arrive I've been making progress on the other one. This one will have P90s also wired 50s style with black limba wings and a curly maple top. It will have a 25" scale and 22 or 23 frets on a katalox fretboard. Thanks in advance for all of the help I'm going to need with these builds...
  12. beltjones

    First Build, so many lessons learned

    Hahaha. Yeah, I dug those out of my screw organizer. I didn't think they would be so noticeable.
  13. beltjones

    First Build, so many lessons learned

    Oh yeah, the wiring: It has a three way switch and three push / push pots. It goes neck volume, bridge volume, master tone. The neck volume splits the coils on both pickups, the bridge volume switches both from series to parallel, and the tone control is a "blower switch" that sends the bridge pickup directly to the jack.
  14. beltjones

    First Build, so many lessons learned

    Ok, it's "done." Some really cool figuring came through on the body. I really like the "raw" padauk fretboard. I'm surprised it isn't used more often. It's not plasticy-glass smooth like ebony, but with the open pores it's not that far off from rosewood. I made a little curly maple truss rod access cover. I left the neck "raw" with just one coat of tru-oil, rubbed back with steel wool. The neck is still a little fat, and I'm going to open up that belly carve a little bit and re-do the finish, but otherwise I'm really happy with how it turned out. I know the paduak will darken over time, and I'm ok with that, but the current burnt orange color is awesome. It makes me want to do an all-paduak guitar ala our friend in New Mexico.