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Found 38 results

  1. Hi guys, I have a few questions. I want to build a little spray paint booth and I want to ask if any of you have advices for me. My main question is if my intake/exhaust placement makes sense. Right now it is designed to have the air intake at the top and air exhaust at the bottom, opposite sides. Should they both be at the rear of the spray paint booth? The booth size will be 5' x 5' x 7"6", it will be covered with polythene plastic, have 4x 48" neon (Outside the booth of course). I have a a belt-driven fan I plan to run over a ~10 meters 6-8" flexible duct outside. And I will use 12" dust free filters for incoming and outgoing air. I came up with this design reading about dozens of posts, but as you know, there's nothing like personal experience (Which I don't have yet!) Thanks for any advice that can help me start this project on the right foot!
  2. Hello. I am wondering where I can purchase an ebony fretboard, suitable for an 8 string guitar with a 28" scale.
  3. 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
  4. Hello to everyone. I wasn't here for a long time and now want to share with you one of our current projects - Axim.7 It's on the way to finish, so I post photos from history of it's building. Specs: Body - Ash Neck - 7ply maple/rosewood/wenge with rosewood fretboard, 25,5", 24 Jescar frets Bridge - Hipshot, Tuners - Gotoh Fokin 7str pickup (will choose model after testing for better sound), 1 volume. Original concept and minimalistic design. Very balanced, heavy enough, maximum access to all neck - it's a fully loaded Axe for metal and shred.
  5. I want to build my first custom guitar, and I know what I want. I just don't know what my budget should be, and where I can find quality components. I want a Gibson explorer body, and I would like it to be sparkly purple with gold hardware. I want the purple sparkles to carry up the neck and cover the headstock. Other than that, I have no clue what pickups to look for and even what all I need. Thanks, Colin. also, don't want to blow the bank
  6. Hi guys so recently I've been wanting to get a new guitar and I fall onto doing a build myself. I have a little bit of an idea of what I want to do and the woods I want to use, but not too much detail after that, I can definitely use some advice and recommendations. So here are my plans. The Idea for the guitar is a 8 string guitar multi scale (26 1/4 inch at the high E and 28 1/2 at the low F) with fanned frets. I want to tone to be bright and crisp with really good articulation of the notes. I have which woods id like to use and ill organize from head stock down... Headstock - Koa Macassar ebony (as the trust rod cover) Neck - Koa Fret board - Macassar Ebony Body - I'm plan on having Wenge and Black Palm alternating, Like so. Wenge, black palm, Wenge, black palm, Wenge with a Zebrawood Top For hardware I want to do 2 slanted Humbuckers with a straight single coil in-between them. I want the pick ups to be passive, but really articulate. I was thinking bareknuckles for the humbuckers, but I'm not sure for the single coil or if how that whole layout will work. As for the rest of the hardware I'm not too sure on what to go with, but I do know I want a individual piece bridge. I just started planning this out but I would like to get some advice and tips if anyone has some for me. Edit.. I know that Black Palm is very difficult to work with and I dont plan on doing to much wood work for it but just enough to sandwhich it between the Wenge wood in the body. The other woods seem to be around the same intermediate levels to woodwork, This is a Rough (ROUGH) Layout of the woods front of the guitar http://imgur.com/a/B08sF Back of the Guitar http://imgur.com/a/jctGK
  7. Hey Everyone! Welcome to my new thread on my first proper guitar build! I've been designing this for a while and I'm currently doing an accurate drawing of what it will look like. I had help from people like @ScottR, @curtisa and more to progress in my design and make it better. So thank you to all of them. Here is the link to that thread. Just so you know, I have experience with woodworking and others so I'm not going into this with nothing. The Design So I have been designing off of a telecaster, shape wise, as I have always loved the shape. Other guitars I have designed from include a PRS, Gibson and one of my current guitars, a Lag Arkane. It is a 25" scale with 24 Frets. To start this whole project off, I drew round my Lag Arkane body to get a rough outline. Then I shaped the guitar from that, adding the Telecaster shape. The headstock I designed off a PRS and a guitar that an old guitar buddy was given, a Seraph Sabre. Look him up, Jon Beedle. Here's the original rough design shape of both guitar and headstock. After I got the rough design, I attempted at creating an accurate design however it failed because of improper measurements. So I scrapped it, you can see it in the other thread. The Hardware and other stuff Wood I've been looking into different kinds of wood for this guitar, however I finalised on Black Korina for the body. I made this decision because 1 I like the wood and 2 I can get my hands on it quite easily! I'll need two halves of it so I can route out the middle of the guitar and then glue the top over it (If that makes sense). For the neck I was thinking just Mahogany as I have a lot of very old mahogany to use. It's about 200 years old! and then an ebony fretboard. Electronics I'm thinking humbuckers, don't know what yet (leave suggestion if you wish) but one in the bridge, one in the neck. I was looking into P90s but i'd rather use pickups I'm familiar with at first. I will have the input on the front, like an SG with two Tone and a Volume Knob. I'm hoping to use a Gibson switch as my selector for pickups. Other Stuff The bridge is cheap (£16) but I don't wast anything expensive at the moment. I got it from Northwest Guitars. It's a hardtail and it's chunky which is what I wanted. Currently up to this day I only have this. The Build Last night, 18/02/17, I embarked on a new adventure. I had the advice of people on the other thread, had the equipment, had the pride so I set off drawing a new design. I started by placing my ruler down on the table and drawing out a beautifully straight 25" line for my High E to nut scale. I then made a mark where the 24th fret will be and drew a line 90 degrees to it (you'll see in the pictures) and then added 3mm and that is where my pickup shall go. At the Bridge end of the scale length, I got my bridge that I bought and measured it up to the line with my High E. (My High E saddle is protruded 85%-ish-of the way out). I then went about sketching around the bridge. Then I took the Saddles off the bridge and drew the 5 holes where the bridge is screwed on and then the 6 holes for the strings-see images. From there, I got the measurement from E to E which was 54mm and added 4mm to each side. From there I drew a line from the middle marks on the bridge to the Nut in order to get the fretboard width. As shown in the first few drawings. Upon starting this at 11;25 on 19/02/17 this is all I have done. I plan on finishing this drawing soon and then buying the wood and starting!! Next I am going to mark the humbuckers and draw the body shape and headstock.
  8. Hello fellow guitarists! I have a slight problemo. I've been designing this guitar for a while and have just drawn in the frets. It's a 25" scale with 24 frets however they do not reach near to my pickups. In fact from where fret 24 is there is a 24mm gap between the fret and the pickup hole. The length from the nut to the 24th fret is bang on too. Does anyone have any suggestions as to why this may have happened and if it is bad? Cheer, ~Retuos
  9. 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 !
  10. Hey guys. I haven't done a build thread before, but decided to start one in any case. I've been working on the cheap family classical guitar that we brought from South Africa (nothing special). Unknown brand "Angelica". I haven't done any sanding/gluing or any other type of DIY work before really, hence why I decided to start on this. I'm still busy with it, but thought I'd share some photos of the transformation. Before photos - lots of dings and scratches, headstock was cracked that I roughly fixed before: Will upload some more soon
  11. Hi all, I'm planning to build a 1/2 size electric guitar for my 4 years old child, I can't find any tip about the string spacing, I don't think that a 1/2 scale has 1/2 string spacing, am I wrong? any tip? Thanks.
  12. Hipshot are a savvy bunch, and to bring a new bridge system onto the market you have to know exactly the features it needs for the end user without making it a stiff and boring-looking item, or worse....an overburdened contraption that only a marketer can save. The Tone-A-Matic effectively addresses the most common issues found in traditional TOM-style systems with a neat attractive unit; both a one-shot retrofit for Nashville-style TOM bridges and a simple-to-implement high grade boutique bridge for new instruments. Generally here on ProjectGuitar.com, the average reader is a builder, so let's get the retrofit stuff out of the way first. After all, this is the primary market for the Tone-A-Matic.....then we can concentrate on the really fun stuff to show how well this bridge works for us in new builds! ----==---- Retrofitting, or "when they didn't do it properly in the first place" Primarily, the Tone-A-Matic is aimed squarely at owners of guitars fitted with Nashville/Epiphone/import-style bridges; those with standard large-diameter adjustment posts rather than the ABR-1 thumbwheel style. This isn't to say that you can't pull out that weedy ABR-1 and upgrade, however that route will involve a careful invasive surgery. Like all of Hipshot's products, the system comes complete with everything you need, including replacement Metric (M8) bushings should your existing ones happen to be a smaller M4 or Imperial threading....or simply if you prefer to renew everything. Optionally, Hipshot can provide Imperial-threaded posts should you be transplanting onto say, an American-made Gibson Nashville. Having all of the parts and setup tools you need right there in the package gets this changed over in one sitting, and is super convenient. None of this "getting the parts in, only to find you need to buy other bits" time-wasting. If you can operate an Allen key, you're golden. Height adjustment of both the bridge and stoptail studs are both managed using the same included 1/8" Allen key whilst the bridge locking mechanism uses a 1/16" key. Obviously the line was drawn at including a screwdriver for intonation! Tailpiece (top) and bridge (bottom) studs/bushings - click to enlarge Stud spacing of the bridge matches the Nashville-style configuration, with a distance of 2-15/16" (2,94"/74,6mm) whilst the stoptail is spaced 3,2"/81,3mm. It is worthwhile confirming that your instrument matches this spacing, since exceptions can occur out in the wild. ----==---- As per Hipshot's usual modus operandi, the parts are precision milled from solid high-grade alloys (in this instance, aluminium and stainless steel) ensuring a durable, effective top-drawer unit. Rather than slavishly copying the well-worn (and somewhat mundane) TOM look, Hipshot elected to produce an aesthetically-elegant unit, reminiscent of those found on some classic Japanese instruments of the 70s/80s. (the best-looking TOMs ever in my humble opinion....) . click to enlarge Bridge detail - click to enlarge Tailpiece detail - click to enlarge click to enlarge The bridge has a mild radius milled over the top face side-to-side and front-to-back with saddles placed to match a 12" radius. Hipshot fit saddles notched and gauge-sized to create a spacing of .406" string-to-string, however saddles are also available un-notched (or left-handed) should you want to tailor saddles to your own personal spacing scheme. Front view - click to enlarge Intonation of each saddle is carried out from the rear using a small Philips screwdriver. It's notable that the adjustment screws are offset from the centre of each saddle keyway, making for easy access between the strings rather than being blocked by them as on standard bridges. The offset adjustment screws are also responsible for a unique feature of the Tone-A-Matic, which may not be perfectly obvious on the first inspection (quote from Hipshot product description): Many people might gloss over this simply as an exercise in marketing speak, however this is a very understated and fundamentally important aspect of the design. It can better be explained through the following diagram: A combination of the offset adjustment screw and specially-shaped saddles allows slight pivoting motion around the adjustment screw's thread. Downward pressure from string tension over the saddle forces the saddle-to-bridge witness point down into the body of the bridge itself. Physically, this produces an efficient, tightly-coupled system and in theory, direct exchange of energy between the vibrating strings and the bridge body. This is what we want from a bridge. Traditional TOM saddle designs often lose this crucial direct coupling, with that energy needing to travel through more components which are often far less "locked together". Whether this makes the bridge sound better is of course up for discussion. What counts, is that if it is possible to improve sound through better coupling, then this is exactly how you go about it. High quality solidly-locked components with the shortest paths possible for energy transfer to reduces losses within a mechanism. Detail of saddle design - click to enlarge In addition to the capacious intonation range, the entire bridge itself is able to be offset on the mounting studs by around 7/32" (5,6mm) through milled slots on the underside and locking set screws. The Tone-A-Matic system comes complete with longer and shorter set screws, allowing you to choose the correct sizes for an invisible fit. Again, this locking mechanism strongly couples the bridge to the studs. Detail of bridge offset mechanism - click to enlarge Detail of bridge offset mechanism range - click to enlarge The normal procedure for most TOM setups is to offset the bass side of the bridge backwards in order to eak out the most from available intonation range. From a retrofitting standpoint, we don't need to have this offset any more. The Tune-A-Matic is more than capable of handling the intonation range required compared to original units. Instead, the Tone-A-Matic can occupy an existing offset stud pattern but be re-aligned so that it is perpendicular to the centreline....if you want! As a builder, figuring out ideal placement of a Nashville or ABR-1 bridge requires us to calculate in the offset to compensate for the limited intonation range the traditional units offer. ABR-1s are notoriously fickle, requiring that the bass-side of the bridge is offset backwards simply so that the instrument can be intonated at all. Nashvilles are more relaxed in this regard, but still need a little babying to find their ideal location. Quick Tip: The Tone-A-Matic makes this consideration for bridge compensation meaningless. Line your stud centres across a point 1/4" (6,4mm) back from the theoretical scale intonation line of your instrument. To confirm why this is so, consult Hipshot's comprehensive specification sheets. A welcome addition to the stoptail is the inclusion of two strong retention magnets. These simply prevent the stoptail from falling off the instrument during occasions when the instrument is without strings. Whilst not a ground-breaking innovation or even something that it is necessary, that Hipshot added this into the stoptail design shows that this is not a product where corners were cut for purposes of economy. Stoptail magnetic retention - click to enlarge click to enlarge The Tone-A-Matic is wider than traditional TOM designs, meaning it can be shallower without reducing unit strength. Not having bulk under the body allows the bridge to be laid closer to the body for slighter neck angles without need of recessing, or used higher as commonly found on more traditional TOM-style instruments. Bridge height comparison - click to enlarge click to enlarge Conclusion The market for TOM-style bridges is hugely competitive, with top-drawer offerings from ABM, Graph Tech, Tone Pros, etc. vying for sales through tit-for-tat marketing speak, voodoo and intangible claims. From a personal standpoint, this has always been a complete turnoff for me. Unless a claim can be proven or have some demonstrable basis in reality, it is likely just marketing. That's how the world works, and how company X spends big dollars to get their hand in your wallet. Hipshot's introduction of the Tone-A-Matic has been comparatively free of this thin veneer of marketing and presents a real and very solid product showing the quality engineering and pragmatic thought behind the design. Hipshot bridges always tend to be highly configurable and sell themselves off good old plain capability and stellar rep. That's what counts, and this is where smart money should be spent. I'm looking forward to seeing this bridge on more builds in future! A solid showing from the guys and girls over at Interlaken. Perhaps we'll see a wraparound one day? ----==---- At the time of writing, the Tone-A-Matic is available via the Hipshot Products website and should be filtering through to your local Hipshot distributors.
  13. Guitar solo Shred

    Hello guys ! Here's a video I've done a couple of days ago Tell me what you think !
  14. My work in progress homemade guitar

    My current work in progress. Ibanez JEM Tree of Life style neck, with a self built BC Rich shape body, green invader pickups, a Floyd Rose trem and the middle pickup space will be filled with my own self made infinite sustain pickup.

    © Richard Eccles

  15. Pickup upgrade

    Hello everyone, I have some questions I hope you guys can answer, since I'm new to guitar modifications or customization. I bought this Ibanez Gio GRG250DX two years ago and I want to upgrade the pickups http://www.ibanez.co.jp/products/eg_page15.php?year=2015&area_id=3&cat_id=1&series_id=9&data_id=191&color=CL01 Since it came with passive pickups I'd like it to have new passive pickups, I was thinking about buying EMGs, H4, H4a and S3 http://www.emgpickups.com/guitar/humbucking/passive-humbucking/h4.html http://www.emgpickups.com/guitar/humbucking/passive-humbucking/h4a.html http://www.emgpickups.com/guitar/single-coil/passive/s3.html I was wondering if I can install the 3 passive pickups with this wiring kit, or if is it possible to install 3 EMG passive pickups, I've been searching on google for diagrams but I can't find one that has an HSH guitar, and mostly the ones I find are for active pickups or just 2 passive pickups http://www.emgpickups.com/accessories/wiring-kits/wiring-kits/3-pickup-wiring-kit.html
  16. 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
  17. 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
  18. So I've been a long time on/off lurker here, and I decided to sign up and document my current build, I just build as a hobby (although I'd love to make it a business, although I've read its not easy). Any ways, I've started this build at the beginning of September and I've finally dedicated the time to put together some photos of my progress thus far, and I'll likely update as I get work done on it. So as an overview, this is my take on the gibson explorer shape. My first guitar was a jay turser explorer clone, and I've dug the shape of explorers and similarly shaped guitars since I started playing (and to this day). After buying my first guitar, I jumped into building guitars. My 2nd and 3rd builds were another of my own design but greatly inspired by a Jackson kelly and warrior morphed together, I call it the Infinity and you can find it in my pictures of my gear in my profile and there's a thread somewhere. Now I'm on my 5th build and the design started out as a smoother redesign of the infinity shape I made, until it eventually became more of a modernized take on the explorer shape.Here's the low down of the specs; 25" scale Ziricote fretboard Birdseye Maple/Zebrawood laminated neck Black Limba body with Quilted Maple top Schaller Hannes bridge, Gotoh Locking Tuners, Tusq XL nut, Reilander RH2 reverend humbuckers, freeway 6 way switch for hum/both/hum/coil/both/coil, 1 concentric pot for neck and bridge volume, 2 concentric pot for treble/bass cut 1 for neck, 1 for bridge. And now, progress. The plan Black Limba body blank (normally I would build my own blank but I ordered one on the account of lack of access to a planer)
  19. Love my "pointies," and trying to design a somewhat bastardization between a Jackson KV2 and B.C. Rich Kerry King Signature V. I am also drawn toward slim neck profiles, such as the Ibanez Wizard neck (17mm @ 1st fret - 20mm @ 12th fret) and the Jackson "speed neck." Conversely, I am NOT a fan of guitar necks reminiscent of a roller coaster at Six Flags... The neck will be constructed of a maple-walnut-maple lamination (roughly 6/4 - 1/4 - 6/4), and the grain orientation of the laminates after glue-up will look like \\\\II//// In addition to these precautions, I thought it would be wise to add additional strength to the neck with the use of supporting or stiffening rods. It seems that there are two prominent types of these supports: 1) KTS Titanium Neck Support Rods These have been frequently used by Ibanez over the last couple of years, especially to strengthen and support their VERY thin "Wizard" necks. As a side note, according to claims made by both Ibanez and KTS, the properties of titanium will markedly improve the resonance and tone of the instrument (although I have not seen any empirical studies supporting this claim. IMHO, subtle changes noticed in the tonality and resonance would qualify more as SUBJECTIVE observations, rather than OBJECTIVE). 2) Carbon Fiber Stiffening Rods I first saw these available from StewMac, but I have since seen them offered by a number of other luthiery suppliers, such as LMII (IIRC). Carbon fiber is well known for its significant strength and stiffness, while remaining very light-weight. While I cannot remember for sure at the moment, I believe the use of carbon fiber neck stiffening rods have also been attributed with changes to the tonal qualities of an instrument. As I would like to construct a thin, wide neck similar to an Ibanez Wizard neck, stiffness and strength are important characteristics. Also, the scarf joint of the headstock should meet the neck roughly at the 3rd fret. I have heard from several people that scarf joints AND slim-profile guitar necks are substantially more prone to breakage and/or serious damage. My thoughts are that using the titanium rods would greatly reduce the likelihood that the neck would break at the scarf joint (although, the carbon fiber may accomplish the task equally well). As for pricing, I have seen the KTS Titanium rods on eBay for $20/ea. While I do not remember an exact amount for the carbon fiber stiffening rods offered by StewMac, I think the are similar in price. In closing, I am very interested in hearing from anyone with insight into either, or both, method for supporting and stiffening thin guitar necks. Are there any differences noticed in the effectiveness at restricting or reducing any neck flexing, twisting, or breakage.
  20. BYO guitar kits

    Hi Everyone I'm new here, started my first build with this kit bought from BYOguitars Shape is in the style of an Scheter\ESP guitars Mahgony body and neck Maple top rosewood fingerboard Hardware: Humbackers that I took out of my Ibanez s Spretzel locking tuner Hipshot trem bridge tusq nut Those patterns around the knobs and in the headstock was printed in my home 3d printer
  21. Hi guys and gals, Check out these unique 3D-printed guitars! (Pics below and attached!). For full disclosure, I work for the company that makes these. I am not trying to spam/sell but to start a conversation with the guitar community about the potential for 3D printed guitars! We would love to hear your feedback and ideas on the potential for 3D-printed guitars. What designs would you make? The flexibility of 3D printing dissolves design limits, allowing us to create personalised, custom guitars at affordable prices. The sky is the limit for body design with 3D printing, opening up awesome opportunities for truly unique guitar aesthetics. I'll also happily answer any questions about the sound/construction etc.! Check out videos showing how the guitars play here: http://bit.ly/1rcRrxj More info at www.customu.se or Twitter: @customuse Cheers Ben
  22. 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.
  23. View File Surunmaa 8-string compound scale guitar The Surunmaa design is an outline for a basic compound scale 8-string guitar over a 720mm (28,35") and 666mm (26,25") compound scaling. Initially designed for a single soapbar pickup (EMG 40-style, Seymour Duncan soapbars, etc.) with a minimal control pattern, the Surunmaa is a guitar focused on a tight toneful low end whilst maintaining a looser top end for more expressive solo work. The bridge configuration features the recently-released Hipshot Solo bridges allowing through-body stringing to be added. The modern headstock style derives from both an 80s Japanese influence with the a more modern Parker Fly-ish slant. Visit the support thread for information on build specifics and for further information on this design. Submitter Prostheta Submitted 06/28/2014 Category Instrument Plans  
  24. Version 1.0

    4,618 downloads

    The Surunmaa design is an outline for a basic compound scale 8-string guitar over a 720mm (28,35") and 666mm (26,25") compound scaling. Initially designed for a single soapbar pickup (EMG 40-style, Seymour Duncan soapbars, etc.) with a minimal control pattern, the Surunmaa is a guitar focused on a tight toneful low end whilst maintaining a looser top end for more expressive solo work. The bridge configuration features the recently-released Hipshot Solo bridges allowing through-body stringing to be added. The modern headstock style derives from both an 80s Japanese influence with the a more modern Parker Fly-ish slant. Visit the support thread for information on build specifics and for further information on this design.
  25. View File JSV Flying V Modern set-neck Flying V. Designed for two humbuckers and a Tune-O-Matic style bridge. Visit the support thread for information on build specifics and for further information on this design. Submitter Prostheta Submitted 05/10/2014 Category Instrument Plans
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