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Found 18 results

  1. Hey, totally new here and to this! I’m going to cut straight to the point. The other day I made a spontaneous buy off EBay. A Baldwin Epoch Les Paul “ by Gibson” Body only. I want to build my next guitar, I’m starting with a low budget and if it turn out good and I’m good at it I’ll make a better more expensive one in the future. After researching the guitar after buying the body, I noticed a guy in America has actually used this body on a build of his own. He put a telecaster neck onto it which looked great and I’m a sucker for a telecaster. The thing that kept going through my head was “ the scale” I think a telecaster is 648mm and a Les Paul is 628mm? On a Chinese site I found a telecaster neck which states it 628mm. Can anybody advise me if this will work?? thanks
  2. My project of making an 8 string guitar from scratch. I am planning on building an 8 string guitar from scratch. Im just looking for some advise, this is my first guitar, and i know and 8 string is not the best build for a first timer, but i have my heart set on it and i am fairly confident i can do it. I have basic woodworking skills and access to most necessary tools and facilities. I also have a mentor who has made many guitar in the past, although he has never made an 8 string and doesn't know to much about them. I have a budget of around $1200 - $150 and i kinda know what parts i want. In terms of wood, i was thinking full mahogany body with a flamed or quilted maple top, maple neck somewhere between 27" and 28" and an ebony fretboard. With the hardware, I was looking at EMG 808's or 808x's for my pickups, but i'm still unsure of things like the wiring sets that can be used for an eight string. Is it the same as a six? And i'm also not sure about the bridge. What would be the best one and where can i purchase it from at the cheapest price? Any information about making an 8 string is greatly appreciated. Thank you. - Josh
  3. Hello. I am wondering where I can purchase an ebony fretboard, suitable for an 8 string guitar with a 28" scale.
  4. hey guys does anyone here provide their own cases/gigbags with guitars you sell? For my acoustic guitar project I'd like to get decent price/quality gigbags with my own logo on it. Anybody have any tips on suppliers?
  5. hey guys the inlays I made for my zebracaster were done using a dremel tool. I'd like to get a consistent quality and design for the inlays going forward. Doing them all with my dremel will not get me the quality I'd like to see. anybody use a shop or supplier of custom inlays? or maybe a shop not focused on guitars but on cutting small pieces of MOP etc in general? thx Age
  6. Hi all, I've recently started guitar building and I've begun with a starter project: an electric ukulele (les paul type). It's going well for now and I will post my build log soon, but I've hit a wall regarding the electronics . Since electric ukuleles are not mainstream, I couldn't find any pre-made pickups (aside from acoustic pickups) and from what I've seen by googling many tend to use regular 6 strings pickups. But personally I find it too large and it takes-up too many space on the body. So I've decided to build my own pickup (I'm aware it may be a little too complex for a beginner...) I plan (in fact I've started) to mod an humbucker pickup kit by cutting down each piece and removing a section to bring it to 4 strings. Now my question is about the winding of this thing, From what I've gathered, the "standard" winding is about 7000 turns. But I'm wondering how it scales to a 4 strings pickup. From my little knowledge of electronics, I understand that the resistance of the pickup is related to the total length of the wire. So since the bobbin will be smaller, does it means that I need to do more turns (to get about the same length) or because it is a smaller pickup maybe I don't need that much resistance. Any help an general advice on pickup winding would be appreciated! (As a bonus I've attached a picture to show my progress so far)
  7. Hi there ! I've built a custom guitar and I've put 3 magnets. 1 single on the neck, 1 hum backer on the bridge and 1 piezoelectric. I use only 3 volumes (1 for each magnet) and a general volume. No switches for choosing a magnet. I must have done something wrong because the piezo does not work so good. I can barely hear it. Could someone please make a correct wiring diagram ? Thanks so much for your effort !
  8. The Free-Way Switch is a unique take on the traditional 3-position toggle switch manufactured in the UK in by switchgear specialists NSF Controls Ltd. The switch first made its debut fitted to one of Jimmy Page's Les Paul® Custom model in late 2007 for Led Zeppelin's Ahmet Ertegun Tribute Concert, allowing the three humbucker-equipped instrument to achieve six individual pickup combinations using an ingenious traverse toggle mechanism. By flicking the actuator perpendicular to its normal direction of travel an extra 3 positions become available to the player, doubling the tonal permutations offered with a standard 3-way toggle, without resorting to installing push-pull pots or mini toggles. The most recent incarnation of the Free-Way switch expands on the flexibility and build quality of the original switches to provide more diverse switching options in a long-lasting, easy to use package. Free-Way boast an endurance of 1 million operations over the lifespan of the switch. The range features two versions - the 3x3-03 with 15 termination points and the 3x3-05 with a whopping 28 termination points. A sub-variant of the 3x3-03 is also offered - the 3x3-04, specially made for JJ Custom Works, which features fixed pickup combinations for a dual humbucker guitar incorporating series, parallel and coil split functions. All switches are available in nickel or gold finishes and can be purchased with a variety of different coloured tips. From the outside the switch doesn't look any different to a normal 3-position toggle, making it attractive to those people wanting to upgrade their guitars without changing the appearance. The only hint that the switch has some tricks up its sleeve is the actuator leaning slightly to one side. Around the back of each switch, the mechanism is a sealed unit inside a small metal canister. Each termination point for the contacts of the switch is presented on a small printed circuit board with gold-plated solder pads. Each version of the switch also includes a larger pad specifically marked for ground connections (labelled as 'GD' on the circuit board), which also doubles as the grounding connection for the metallic parts of the switch. Due to the overhang of the circuit board the switches are slightly wider than a traditional toggle, with the '05 model being the largest of the two, but much shallower being only half as deep. Despite its bulk the larger '05 model is designed to still fit into the toggle switch cavity of a Les Paul. Model Overview The '05 model can be considered the equivalent of a 6-position rotary switch, where six incoming signals can be sent to the outgoing side of the switch one at a time. The switch contains two independent halves, each containing a one-of-six selector allowing for a wide range of pickup combinations, splits, kill switching, passive with piezo pairings and even options for Strats, HSS and HSH-equipped instruments . The '03 model is actually quite a complex beast, despite being half the size of the '05. The first three positions on the '03 behave the same as a standard 3-way toggle, providing Signal A, Signal A+B and Signal B combinations. Moving the switch to the next group of three positions adds an additional layer of signal pairings but operating under a slightly different system, expanding the combinations to Signal C, Signal D+E and Signal F. As for the '05 model, each half of the switch is completely independent to the other, and a total of 12 different switching combinations is under the control of one lever. With such a bewildering array of combinations possible in one switch it's easy to get lost trying to figure out exactly which contact does what for each position, so Free-Way helpfully provide a pack of example wiring diagrams covering various pickup combinations to help get the ball rolling. The schematics are clearly laid out and only require some minor interpretation on the part of the user to ensure that pickup wiring colour codes are correctly translated from the ones shown in the diagrams to those fitted to your guitar. Both switches come with plastic tips that can be unscrewed from the shaft and exchanged for different colours - cream, black and amber tips are available. The thread on the shaft is quoted as M3.5, but unfortunately this appeared to differ from the Switchcraft and no-name Allparts toggles I had on hand In use With the trusty soldering iron warmed up I decided to dive right in and retrofit the '03 switch to one of my SR-series guitars. This instrument is fitted with two Seymour Duncan 4-conductor humbucker pickups. I normally keep the control layout on these guitars fairly sparse and basic, with only a 3-way toggle and single volume pot, but the option of adding some coil split functions to this instrument while keeping the control layout uncluttered is attractive. The original wiring layout of the guitar is shown below: To get things started I turned to the example wiring schemes provided by Free-Way, narrowing down the choices to those that allowed me to retain the standard bridge humbucker/bridge + neck/neck humbucker options that the original toggle provided, while adding some interesting coil split functions in the alternate group of three positions. As the wiring for these switches is quite a bit more involved than a standard toggle, it pays to do as much work on the switch as possible outside of the instrument. A small piece of MDF with a 1/2" hole drilled through, clamped to the workbench makes a quick and effective holder for keeping these switch from twirling around on the bench while trying to solder wires to the pads: A few notes on working with these switches. Some of the wiring schemes require that adjacent pads are soldered together. The gold plated pads are spaced deliberately close together to facilitate this, and unless care is taken it can be easy to inadvertently bridge two pads together by applying too much solder. Your choice of soldering iron can make a big difference to working with the delicate nature of these solder pads. A fine point, temperature-regulated iron is recommended to make easy work of soldering wires to the termination points, while minimising the risk of damaging the gold pads by overheating. Good soldering technique will assist in fitting these switches into the guitar too, as space inside the cavity can get cramped very quickly. Free-Way suggest that wiring all the solder pads to external screw terminals can assist in installations where the user wants to try out several different switching schemes without having to re-solder the switch multiple times over. However, the requirement for a generously-proportioned control cavity may prevent some users from achieving this, as was the case in my situation. Making several connections to one pad can be tricky too, as previously soldered wires have a tendency to spring off once the next wire is added to the connection. Some careful manipulation of connections is often required to get everything to stay put. Alternatively it can be beneficial to plan ahead where possible by twisting multiple conductors together and then soldering the bundled wires to a pad in one go. After an hour or two of careful soldering, poking and prodding, the switch was finally bolted into the cavity and the wiring taken for a test drive: With the actuator in the down position (away from the player) the toggle operates the same as the basic 3-position unit it replaced, with bridge humbucker/bridge hum + neck hum/neck hum combinations. With the particular wiring scheme I chose to use, pulling the actuator upwards engages the three alternate combinations of bridge hum + neck split/bridge split + neck split/neck hum + bridge split. The physical action of the switch itself is positive, with a decisive latching feel as the toggle is moved between positions. Pops, clicks and other extraneous electrical noise is as low as any other good quality toggle switch. Quickly changing between the two traverse modes takes a little getting use to, but otherwise the usefulness and practicality of the switch is immediately apparent. As mentioned earlier, the outward appearance of the switch is virtually indistinguishable from the toggle it replaced: Summary The Free-Way switch makes for quite a powerful upgrade to a guitar's pickup selection system that will appeal to people wanting to create new and unusual switching schemes without resorting to adding multiple controls. The quality of the switch appears to be very solid, and while working with the wiring can at times get a bit cramped, it is well worth considering as an alternative to a traditional 3-position toggle, or even as a substitute to a 5-position blade switch. Pros: Good build quality and mechanical feel Excellent documentation Massive range of switching possibilities with only one control No change in instrument looks for situations where external appearance is important Cons: Larger physical size can be a problem in cramped control cavities Soldering can be fiddly ---------- Thanks go to Free-Way Switches for providing the units used in this product review!
  9. I Have free time and lot of wood. I'm basically a bass player so I decided to make few different basses. I will post them in one thread. They are: 1. 5str jazz bass 2. 4str jazz bass 3. neckthrough 4str jazz bass Let's start. 1. I never like a classic jazz bass design, so I decided to make my own modern looking 5str jazz bass Ash body Maple/wenge neck with wenge fingerboard, 34", 24 frets, dot markers, bolt-on Gotoh hardware, Folin pickups Jazz Bass Set.
  10. So, good day/morning/evening to everyone. Here I want to show you my second project. I call it Angry Strat specs: sapele body with maple top maple/wenge neck with wenge fingerboard, 25" Gotoh tuners and bridge Fokin demolition passive humbuckers set
  11. This custom guitar was made by John Woods, a master luthier from southern Oregon. He has built guitars for many years (since 1969 to be exact), including pieces for well-known folks like David Lindley (former player for Kaleidoscope, Linda Ronstadt, Jackson Browne, etc). It has been modeled after a Les Paul Standard, but setup to be wired like a Fender Strat, so you get the best of both! The neck is 1-7/8" wide at the nut (1/8" wider than standard sizing) to accommodate large hands and fat fingers. The pickup and tone/volume control hardware mount through the back of the guitar, leaving the front for viewing the beautiful tiger stripe maple instead of an ugly plastic pickguard. The neck inlays are made of Turquoise, Mother of Pearl, and Pāua Shell. This guitar is truly one of a kind, specifically because of the way it has been laminated together. The black stripe meets up with the solid black on the back of the neck and contrasts with the maple for an extremely striking look. It has all been done with West System epoxy and curly maple (with tiger striping on the outside layer). There's absolutely no way these laminates will ever come apart and the polyester resin finish should never need any kind of maintenance. See the last photo for all the hardware that will be included. You don't get everything (e.g. no pickups, tone/volume control, tailpiece, etc), but this opens up the possibility for you to pick the exact pieces and wire them to your liking. You do get a chrome neck attachment plate, Grover Mini rotomatic tuning machines, screws, back plates (note that one of them has some ink stains), tone/volume knobs, and strap buttons! Really, the photos speak for themselves. The guitar and hardware will be shipped safely and securely in pieces, as you can see in the majority of the photos. $1200 OBO + $50 shipping within the USA. If you want it shipped internationally, let me know and I can give you a quote. I have it listed on eBay & Reverb.com if you want a more secure place to purchase it.
  12. We found this guitar at a vintage shop in Clifton (Cincinnati), Ohio called Mikes guitar. I am trying to find its origin or some information as to who made it. It has no markings on it, no serial number. It looks like a hofner violin bass but it is a guitar and probably a copy of the shape. The dragon inlay is on the front and back. Does anyone have any suggestions
  13. "Hi to everybody! I've made a custom headless guitar. It's a very compact guitar but it's about 2cm wider than a Stratocaster at its widest point. The result is that it does not fit in a standard Stratocaster case. I bought a Jaguar hardcase but it's exaggeratedly long for my guitar. I've made a compact, travel friendly guitar and I have to use an enormous case. I was quite disappointed so I decided to build my own case. I decided to document the entire process in order to make a tutorial that will be useful to those who want to challenge themselves in the construction of their own case. Everything was made in my garage: all you need are a saw, rivets, riveter and a drill. I bought aluminum parts for the instrument case from Thomann.de and the plywood from a local bricolage store - they've even cut it from my specs. This is the wood cut: I used PVA to glue the parts. (editor's note: ensure that the joints are perfect to ensure good adhesion in butt joints like these) Some clamps. To avoid using too many clamps I used some screws to fix the gluing. (editor's note: these are pretty much essential!) Repeated it for each side (I used some spacers to keep the glued sides straight). Next the upper side.... Both completed halves.... Matching test.... Aluminium edge protection extrusions.... Cut to measure.... Now the closing profiles, cut to measure.... Detail of the 45° corner mitring.... Matching closure test.... Locations for the butterfly latches marked and cut. I used synthetic leather material to cover the case.... ....glued with more PVA Fitting test.... The aluminium edge profiles were drilled to fasten them with rivets. When you use rivets in wood you have to secure them with washers otherwise you will crack the wood! More aluminium cut for the corners.... Butterfly latch temporarily positioned for drilling rivets holes. Rivets inserted.... Butterfly latch mounted. Hinges.... Handle.... Testing the lid.... Rear.... Front.... Interior.... Detail of the lid mechanism. I used foam for the interior. I bought a 1m² of sound-absorbing foam which I cut for the lid. For the lower part of the case I sent the guitar profile's CAD plan to a specialised company which cut out the shape in the foam to spec. You can compare the dimensions of all of the cases. From left to right: My own custom case, Music Man, Jaguar. This is the final result. Very satisfied with it!
  14. Hi everyone. I thought about my own handmade guitar last few years and I decided to do it. I have to say, that guitar is already done and I show you photos of process from woods to ready guitar Specs: sapele body with maple top maple/sapele neck with rosewood fretboard, 25,5", 24 frets Jescar stainless steel frets Fokin pickups - Demolition set (passive) Tuners, bridge - Gotoh
  15. I've seen some pretty incredible builds on this site and on some of the guitars I can see special hardware like tuners, knobs, bridges. How do you guys get these? do you make your own? or some special shops not easy to find? I Always end up with the 'standard' stuff from the likes of allparts, stewmac or in Holland guitarsupplies, vox humana. any links available or members here that build and sell? thx!
  16. Hi Guys, I've just started my 2nd custom amplifier project and I thought I'd do a build thread here. Here is the design... it's been laser cut so will post more pics this week.
  17. Hi Guys, I started building this amplifier around Christmas, I finished it in March and have since decided to start work on some new ideas and turn it in to a company. I hope you guys can give me some feedback as I respect the quality of work that seems to be posted here. Unfortunately I'm having to sell this amplifier to raise capital to build my new idea which is a version 2 of this amplifier. Same internal components and features but in a smaller box. I'd have liked to have kept this forever but needs must! I hope you enjoy this build thread and like what I'm doing. Again any feedback is gratefully received. If you have any questions I'd love to answer them. Unfortunately not every part of the process is covered in these photos but I've put as much in as I can. In the cabinet I put Celestion Vintage 30s. They are quite heavy but because I've used ultralight materials I have kept the weight down to the same as an equivalent Marshall cabinet. --- The amplifier is quite big but looks are deceiving, this head is lighter than an Engl Powerball. --- This is a promo picture that I took for my website that I've been building... not going so well, they are very hard to make. Please have a look www.davisamplification.com --- This is the amplifier at the famous Rockfield Studios in Wales where many, many famous albums have been recorded. --- I was lucky enough that Robert Plant used the amplifier on a couple of occasions and he was really cool to invite me over to his to have some photos taken with him and the amplifier. He loved the way it looked and sounded.
  18. Greetings again! It's time to start again my annual guitar project with a new build thread. Firstly forgive my little rusty English, haven't been posting nothing since last autumn. Some of you may still remember my previous topic (EXP2012 :http://projectguitar.ibforums.com/topic/46432-explorer-2012/ ). The project is sill unfinished and has a big goal to be sprayed during the next summer. I actually had a spray gun in my hand already, when my boss called and canceled my vacation. Needless to say, a man who comes between the builder and his guitar is no more my boss. But without further babbling straight to the topic. EXP2013: The Stalker Project - A guitar pumped up with post nuclear techonogy - Inspiration has been drawn from Fallout & Stalker RPG series. Original idea was to assemble a very roughly cut (but still working) body and neck together, no finishes or sandings - as much use of angle grinder as possible. Hardware and knobs would have been gathered from old scraps. Guitar's point was to look like adapted tool builded in primitive conditions - a real thrash guitar ready for ultimate use. Most of this roughness disappeared quickly during the project and I found myself building far too fine instrument. Well, the conditions are still primitive, but the current goal is to give an impression of reverted post nuclear technology with blinking LEDs, meters and other details. I'm also going to try get some vintage look into hardware parts. The final content is still undefined, but I have purchased some crazy stuff to be mounted in this instrument. Not going to spoil the fun part yet, because it needs still some further investigations. If anyone has ideas of what the real Fallout-guitar should have, please let me know. Limits are only meant to be crossed. The project started with proper CAD plans. Yes, it's a customed explorer again - I'm just a real sucker for those. Body has multiple cavities for whatever I decide to mount into it. SPECS: Body -Alder top, ash bottom, maple hearth mounted under the bridge -Juniper binding Bolt-on neck - laminated maple & walnut/bubinga - scarf joint - bubinga veneer in KL headstock & maple binding - pre-slotted ebony fingerboard, cream binding - Custom inlays - Schaller R8 Locking saddle Worn out chrome hardware - Floyd rose, 37mm sustain block - Schaller STMG Bridge - Schaller PU frames - Grover Rotomatics / different pegs gathered Electronics - Seymour Duncan Invaders / Hot rodded set - 3-way in a horn, 1 vol, 1 tone - Maybe some effect (reverb/distortion) - Random post nuclear technology Lots of photos will be posted again. My current status with the guitar is installing neck inserts. ... To be continued later next week ...
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