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well for once i am bone dry on ideas for a next build. for a while i was wanting to do an all mahogany strat, but i dont know if that is what i still want to do. i have built almost every shape of guitar besides a double cut, and some of the crazy shapes. any ideas/ themes? i am open to everything. thanks!

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well i think we should have a build of killemall. or shouldn't it be killermall?

?

I think maybe he meant a build off? As in competition of building. The name thing I don't know, just a play on words, though if he doesn't realize what you name says, its Kill 'em all. Though when I was younger I probably used the word "killermall" as in "man that was a killer mall, yo" :D , scary I know.

I'm still brainstorming on body designs for your next, but I do like doublecuts, definitely keep that one on the board for now. J

Edited by jmrentis
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well i think we should have a build of killemall. or shouldn't it be killermall?

?

I think maybe he meant a build off? As in competition of building. The name thing I don't know, just a play on words, though if he doesn't realize what you name says, its Kill 'em all. Though when I was younger I probably used the word "killermall" as in "man that was a killer mall, yo" :D , scary I know.

I'm still brainstorming on body designs for your next, but I do like doublecuts, definitely keep that one on the board for now. J

Its late here in New Zealand mate. I know your name stands for Kill em All! I was just playing with words thats right.

But i think the rail design is cool idea... I am trying to figure how to make it look cooler.

Cheers

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I figured you knew and it was just a play on words, I just wanted to give you a hard time or help you out, which ever it was. Sometimes I am clueless on what certain peoples name mean or what some internet chat term is. It took me forever to find out what ROTFLOL and all those things meant, I just ain't hip like that. I agree the rail design is pretty cool and I really look forward to seeing some new designs involving this will look like. Best of luck and post whatever designs you come up with. J

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Build an acoustic instrument. Mandolin, flattop, archtop or what have ya.Building an instrument that creates its own sound will give you a greater understanding of wood, joints, adhesives, structural elements, acoustic responce and so on and so forth. I think at some point it is a good idea for everyone to build an acoustic instrument, it will change the way you think about a great many things in instrument building.

Peace,Rich

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Building an acoustic is a great idea. I am building a hollow body prs at the moment. Not the same as a full acoustic but very cool at the same time.

Some elements are very similar. Neck construction and finishing for example are not extreamly different (which are huge skill sets solid body or acoustic, finishing is probably 30% or more of any build). Structurally you have to think in different terms, because you are trying to push the limits and maximize your efficiency, yet still ensure durability. This means you will look at every bit and how you put them together, then try to evaluate if you have met the requirements without overbuiling (which limits efficiency). You also have to really pay attension to resonance and responce. With solid bodies it is a thought, but not as critical (by that I mean the electronics play into the mix in a significant way, and the instruments body is not the sole source of sound). This is nice in that you probably don't think too much about the thickness you make a solid body, or what shape it is. However with an acoustic instrument these things really change the way the instrument will sound, and you really need to think about what effects shape and thickness have. Since efficiency is critical you really start to look close at how strings vibrate, coupling, break anges, energy use/transfer, density of parts and how balanced the instrument is (not as it relates to how it hangs, although it is a thought), how the neck vibrates and how stiffness and density of its parts relate and so forth.

I think getting your head wrapped around these things opens new avenues in how you design. Gives you a better understanding of what can and can't be done, and more importantly why. Possibly give you a closer look at optimal joining techniques, because you are pushing closer to the limits. Many skills in acoustic building do not directly apply to a solid body, but the tool and jig usage reinforces and adds depth to your solidbody skill set.

When you mentioned this;

well for once i am bone dry on ideas for a next build. for a while i was wanting to do an all mahogany strat, but i dont know if that is what i still want to do. i have built almost every shape of guitar besides a double cut, and some of the crazy shapes. any ideas/ themes? i am open to everything. thanks!

It sounds like you have lots of solid bodies under your belt. The handful of new skills involved in acoustics shouldn't be an issue, and may recharge your batterys so to speak.

P.S. Rick500, mentioned the Turner Model 1, reminded me that Rick Turner is often posting great insights over at the OLF lately. Definately worth checking out what he has to say if you get the chance. There are a LOT of years(decades) of professional experience being offered by Rick, not something you want to overlook.

Peace,Rich

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Building an acoustic is a great idea. I am building a hollow body prs at the moment. Not the same as a full acoustic but very cool at the same time.

Some elements are very similar. Neck construction and finishing for example are not extreamly different (which are huge skill sets solid body or acoustic, finishing is probably 30% or more of any build). Structurally you have to think in different terms, because you are trying to push the limits and maximize your efficiency, yet still ensure durability. This means you will look at every bit and how you put them together, then try to evaluate if you have met the requirements without overbuiling (which limits efficiency). You also have to really pay attension to resonance and responce. With solid bodies it is a thought, but not as critical (by that I mean the electronics play into the mix in a significant way, and the instruments body is not the sole source of sound). This is nice in that you probably don't think too much about the thickness you make a solid body, or what shape it is. However with an acoustic instrument these things really change the way the instrument will sound, and you really need to think about what effects shape and thickness have. Since efficiency is critical you really start to look close at how strings vibrate, coupling, break anges, energy use/transfer, density of parts and how balanced the instrument is (not as it relates to how it hangs, although it is a thought), how the neck vibrates and how stiffness and density of its parts relate and so forth.

I think getting your head wrapped around these things opens new avenues in how you design. Gives you a better understanding of what can and can't be done, and more importantly why. Possibly give you a closer look at optimal joining techniques, because you are pushing closer to the limits. Many skills in acoustic building do not directly apply to a solid body, but the tool and jig usage reinforces and adds depth to your solidbody skill set.

When you mentioned this;

well for once i am bone dry on ideas for a next build. for a while i was wanting to do an all mahogany strat, but i dont know if that is what i still want to do. i have built almost every shape of guitar besides a double cut, and some of the crazy shapes. any ideas/ themes? i am open to everything. thanks!

It sounds like you have lots of solid bodies under your belt. The handful of new skills involved in acoustics shouldn't be an issue, and may recharge your batterys so to speak.

P.S. Rick500, mentioned the Turner Model 1, reminded me that Rick Turner is often posting great insights over at the OLF lately. Definately worth checking out what he has to say if you get the chance. There are a LOT of years(decades) of professional experience being offered by Rick, not something you want to overlook.

Peace,Rich

well, i dont know about an acoustic. i would have to get so much new stuff. and it really isnt something i am interested in. i know i should experinment with new ideas and methods, but to me it just doesnt seem as fun. especially since i dont really play anthing on an acoustic.

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Acoustics are really entirely different instruments; the neck's the same, setup is similar, and finishing is finishing, but it sort of ends there. It's not precisely difficult, but it is a whole different sort of ballgame.

I don't know what your tastes are, but I never have problems coming up with new ideas. I often find simply staring at my wood pile and individual tops helps; what kind of design would be suit a specific piece of wood? I'm not horribly prolific, but I've built, to date, 15 guitars, none using the same shape. I do plan on building a few more with identical shapes in future, but carving is always going to be pretty customized, wood choices vary, finish and hardware choices vary, pickups and electronics choices vary.

Currently on the workbench:

- Matched pair Strat and Telecaster, awaiting fretting, finishing, wiring and setup.

- Baritone acoustic guitar, awaiting binding, finishing, bit of neck work, setup

- Electric Archtop, inspired by David Myka's dragonfly (spruce over Khaya, set neck), needs body work, binding, neck work, inlay.

- Left handed kelly (maple over khaya, set neck, floyd), needs the neck set, more neck carving, sanding, inlay, finishing

- Walnut/WRC jumbo acoustic - time to bend sides and assemble the rim soon, then a bunch of inlay. Lotsa weird features

Planned for the (near) future (for some I'm waiting for custom hardware):

- Sekrit headless design with Funky Features

- Cherry/spruce parlor guitar

- Spalt maple back/sides/redwood top Grand Auditorium/Grand Concert sized guitar, maple leaf theme

- Etched brass-decorate LP junior-ish guitar, all-limba, flattop

- Black Limba/SpaltyFlamey maple top fenandez ravelle/singlcut inspried set neck

- Quilt maple over (limba or khaya) singlecut with cocobolo neck

- All-mahogany doublecut, P-90s

- Neck-through singlecut bass

- F5 mandolin

- Acoustic archtop guitar

That's the list of things I've got semi-firm plans to build, anyway, and I'm always open to suggestions from friends who want an instrument built (I'm slowly getting to the point where I'm almost efficient!). Then theres the variety of acoustics I want to build to get the hang of it, with various inlay themes, in various sizes (Grand A, Jumbo, Parlor and a to-be-designed OM-sized thing, maybe a 000 sized thing as well) in various woods I have (looking forward to madagascan rosewood, macassar ebony, ziricote, bubinga, quilt sapele, cuban mahogany, pau ferro....and lots of Italian spruce tops. And some redwood. And a bit of Engelman and Sitka.)

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Just go to the lumber yard and find a nice piece of lumber that strikes your eye. It will spark an idea in your head. I’m a big fan of coming up with your own shape as I currently make three original shapes that I came up with. To me this is when I feel most inspired to build:

1. A great piece of lumber shows up and inspires me.

2. A have a good brain storm and I feel inspired to build.

Don’t jump ship on electric if you have no desire to build an acoustic. You’ll get bored and likely won’t finish the project.

However, a semi acoustic can be done in the exactly same way an electric is built and can be just as inspiring. One of my original shapes is a semi acoustic. I map out the back wood and route my cavities and then glue to the top on. You can even make a neck through semi acoustic!

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Some more complex top and rear carving might be a good idea to try for... take a look at Ulrich Teuffel's designs for a good idea. Here's a video of his new Ni-Wa that shows some of its rather impressive contouring. http://www.gearwire.com/teuffel-guitars-winter-namm.html

As for myself, I have drawn up plans for:

-A 7-string Explorer/Warrior hybrid http://projectguitar.ibforums.com/index.ph...st&p=351027

-A 6-string Teuffel Tesla lookalike modified with a Klein lower bout for ergonomics with Fernandes Sustainer and Killswitch, set up headless with Steinberger Gearless Tuners behind the bridge Scott-French style

-A 6-string Teuffel Tesla lookalike with single soapbar P90 and wraparound bridge

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They look like really easy projects for a beginner to get their feet wet on.

They can be a fun and easy project for a beginner or pro too. Anything from a board with strings to whatever you can dream up.

Easy projects, possibly. But that there lap steel is very, very nicely executed indeed.

Thanks, it is much appreciated :D

Here are a front and back shot that shows the rip and flip grain pattern a bit better

.

front3-600.jpgrear1-600.jpg

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Dayymmm! Thats-a nice-a piece-a work-a!!! I've seen some amazing lap steels and that definitely qualifies as one, the workmanship is beautiful! I don't know that I could ever get myself to play one, but after seeing all the amazing lap steels I will probably have to build one at some point, they just seem to fun to miss out on. I will say that yours has a feature that I see very few of and that is an outy belly button, you just don't see that much, ya know, lol. I really love the book matched/ripped/grain orientation trick, very visually appealing. Very nice work and congrats on such a beautiful instrument.J

PS: What did you use for the fret markers?

Edited by jmrentis
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