Prostheta Posted March 15, 2009 Author Report Share Posted March 15, 2009 Arses. I'm not happy with the centring on the dot at 15th. Going to drill it out and install another dot and infill the gap with lampblack and CA. Poo. Quote Link to comment Share on other sites More sharing options...
Kenny Posted March 15, 2009 Report Share Posted March 15, 2009 (edited) Here we go.... Perry's gonna be upset I love how the inlay's conform to the shape of the scalloping though! great work! Edited March 15, 2009 by Kenny Quote Link to comment Share on other sites More sharing options...
Bass-Man43 Posted March 16, 2009 Report Share Posted March 16, 2009 I wish I could find the pictuer, but I saw a picture of a an instrument that had splayed scallops and it pre-dates any of Perry's work considerably. SO just some food for thought... Otherwise, very nice work Prostheta, can't wait to see her finished! Quote Link to comment Share on other sites More sharing options...
Prostheta Posted March 16, 2009 Author Report Share Posted March 16, 2009 Thanks guys. I'm sure Perry won't be that upset (probably just "disappointed") on the basis that I don't make instruments for clients, plus if anyone asks about the scalloping I'll tell them where the idea came from. That's the least I can do. BTW - the scallop at the 15th (the one i'm redrilling and installing) looks like it's crooked at the apex - it's not, as there is a little smidge of CA from the inlaying which i've subsequently sanded out. Quote Link to comment Share on other sites More sharing options...
ae3 Posted March 17, 2009 Report Share Posted March 17, 2009 Scalloping looks great! Quote Link to comment Share on other sites More sharing options...
Prostheta Posted March 17, 2009 Author Report Share Posted March 17, 2009 Meh - i'm having a crisis of choice on where to take the body in terms of the pickup configuration. At the moment, i'm sanding away that nightmarish polyester or whatever it is that Ibanez used to seal the body so I can use a light waterbased grainfiller for a more lightweight finish so I have a little time to decide what I want. The only routs in the body at the moment are the original bridge 6-string hum rout and the control cavity/top jack recess. Up until now, i've been aiming for a one humbucker instrument, keeping the current tone/vol control locations and blade switch slot. The wiring being a straight tone/vol with treble pass cap, and the switch configuring the humbucker (passive, DiMarzio D-Activator) for three useful split and phase arrangements. I am tempted to perhaps go as far as to install a DiMarzio PAF-7 in the neck position and a ToneZone-7 in the bridge. The ToneZone/D-Activator choice was one i was originally throwing about, with the decision being made for one D-Activator on the basis of it being a crunchy-squealy kind of pickup. I had a ToneZone in my old Mirage, and I loved it in the 6-string version. Not sure if this would translate well to 7-string, and mahogany body instead of alder as per the Mirage. Would like to hear any opinions on this if anyone has any, BTW. The PAF-7 has adjustable polepieces and slugs, which matches the ToneZone in terms of looks. How ephemeral!! Anyway. Fine-tuning the radiusing on the fingerboard today, to remove any minute variations in height I can find now the board is on the neck. Would rather do this than do the same when fret-levelling of course. Oh yes, I fine-sanded the scallops this morning whilst watching The Man With The Golden Gun. Popped a 4mm drill bit into my Dremel, tightly wrapped a 4000 grit MicroMesh pad around it, and secured it with masking tape at the base. I polished out the scalloping on the lowest speed, and revealed a few fine scratches I need to work out. Otherwise, the ebony comes up like glass! Awesome. Quote Link to comment Share on other sites More sharing options...
tim290280 Posted March 17, 2009 Report Share Posted March 17, 2009 Thanks guys. I'm sure Perry won't be that upset (probably just "disappointed") on the basis that I don't make instruments for clients, plus if anyone asks about the scalloping I'll tell them where the idea came from. That's the least I can do. BTW - the scallop at the 15th (the one i'm redrilling and installing) looks like it's crooked at the apex - it's not, as there is a little smidge of CA from the inlaying which i've subsequently sanded out. I would have thought he'd take it as a compliment. Like you said, it's not like you're selling guitars. You just have Ormsby Scallops TM On the build side I like the look of that neck, especially the shaping at the 23rd fret there. Quote Link to comment Share on other sites More sharing options...
Prostheta Posted March 17, 2009 Author Report Share Posted March 17, 2009 Coincidentally, I took a photo of the scalloping in that area earlier on as I bound the end of the fingerboard last night. The 24th fret slot opens up in the middle of the curve so I decided to make it go away. I need to tinker with the scallop at 21st so it's more even in relation to the edge of the fretwire. Otherwise, all of the wire has the right room for seating over the radius. The apparent uneveness of the end of the board under the binding is because I haven't filed it back on the underside yet Quote Link to comment Share on other sites More sharing options...
Maiden69 Posted March 17, 2009 Report Share Posted March 17, 2009 Thanks guys. I'm sure Perry won't be that upset (probably just "disappointed") on the basis that I don't make instruments for clients, plus if anyone asks about the scalloping I'll tell them where the idea came from. That's the least I can do. BTW - the scallop at the 15th (the one i'm redrilling and installing) looks like it's crooked at the apex - it's not, as there is a little smidge of CA from the inlaying which i've subsequently sanded out. Actually, it is not if he will be upset or disappointed... but I think that you should had given him credit for your inspiration. Same like I give credit to David Myka and Drak for my stain work. So far it is coming out nicely. Can't wait to see more pictures. Quote Link to comment Share on other sites More sharing options...
Prostheta Posted March 17, 2009 Author Report Share Posted March 17, 2009 Well, I did so that's all good and not really a "should have"! :-D Will do my best to update as I get things done, but time is sporadic at the moment, so it might be hours it might be days. Get yer tenterhooks out!! Quote Link to comment Share on other sites More sharing options...
wood is good Posted March 18, 2009 Report Share Posted March 18, 2009 I dont think its fair that EVERYONE gives credit to Mr. Ormsby for that "idea". Ive know luthiers who did that WAY before Perry became popular. It just wasnt thought of or known as well. Quote Link to comment Share on other sites More sharing options...
Narcissism Posted March 18, 2009 Report Share Posted March 18, 2009 I dont think its fair that EVERYONE gives credit to Mr. Ormsby for that "idea". Ive know luthiers who did that WAY before Perry became popular. It just wasnt thought of or known as well. True, but Jake Carpenter didn't invent the snowboard, and Shakespeare didn't write Hamlet. I think its a case of whoever made it popular. In this case, Mr. Ormsby has copyrighted the word "multiscale" which leads most of us into pointing the idea at him. I've never seen the offset scalloping though. I don't really see any use for it other than cosmetic. It does look nice. Quote Link to comment Share on other sites More sharing options...
Xanthus Posted March 18, 2009 Report Share Posted March 18, 2009 ...and I'm sure people who aren't on the PG boards or "in the know" about the Australian luthierie (sp?) scene will attribute it to someone else anyways @Narcissism: Perry mentioned the offset scalloping in a thread a while ago, as well as in one of his video tutorials. It basically boiled down to why put scallops on parts of the fretboard that you're not going to need it on anyways? A take-away-as-little-wood-as-necessary thing. Quote Link to comment Share on other sites More sharing options...
wood is good Posted March 18, 2009 Report Share Posted March 18, 2009 (edited) I understand, I just dont like how everyone acts like its his and only his, and act like he is superior to us. Edited March 18, 2009 by wood is good Quote Link to comment Share on other sites More sharing options...
Prostheta Posted March 18, 2009 Author Report Share Posted March 18, 2009 Can I put this one to bed please, before it sours this build thread with unneccesary debate? Thanks. I'm crediting Perry with the idea as I was inspired by his usage of the technique whether it was his in the first place or not. That was never in question. Perry's multiscale build as detailed elsewhere here on PG is where the idea came from for me anyway. I'm sure that other luthiers utilised this before Perry implemented as well, but either way - it's irrelevant. Narcissism: The scalloping allows smoother and easier bending in the upper register without the fingers fouling on the fingerboard. Less power has to be put behind the bends, and they're more consistent since you're not compensating for the fingerboard getting in the way by pushing harder. This also promotes light touch. I decided to implement scalloping on this instrument after finding the fingerboard getting in the way of one particular bend at 19th on the high E of my other Sabre Whether it ends up being of any practical use to me (i'm primarily a rhythm player) is moot - but it does look ooking cool nevertheless!! Quote Link to comment Share on other sites More sharing options...
Narcissism Posted March 18, 2009 Report Share Posted March 18, 2009 ...and I'm sure people who aren't on the PG boards or "in the know" about the Australian luthierie (sp?) scene will attribute it to someone else anyways @Narcissism: Perry mentioned the offset scalloping in a thread a while ago, as well as in one of his video tutorials. It basically boiled down to why put scallops on parts of the fretboard that you're not going to need it on anyways? A take-away-as-little-wood-as-necessary thing. I never really saw any of Perry's stuff outside of PG, so that's probably why I missed it. Narcissism: The scalloping allows smoother and easier bending in the upper register without the fingers fouling on the fingerboard. Less power has to be put behind the bends, and they're more consistent since you're not compensating for the fingerboard getting in the way by pushing harder. This also promotes light touch. Actually, I have a scalloped guitar, and I scalloped it for the reasons you posted. What I was confused about was why you were carving them out at different lengths across the fretboard. It makes sense now that Xanthus explained that part, but the other advantage I noticed is that it'll probably be a lot easier to refret if you need to. Thank you both for the explination! Quote Link to comment Share on other sites More sharing options...
Prostheta Posted March 18, 2009 Author Report Share Posted March 18, 2009 Heh! Well, the design principles make sense at this stage, so if it doesn't work out *in practice* then I guess I could just yank out a bigger scallop or call it an adventure well worth trying out in the least. Then again, the fret markers mean I can't change the "form" of the scallop now, so let's call it a confirmed feature!! UPDATE: Created the neck angle by planing the face of the heel to mate with the newly opened-out neck pocket. The angle in the flat of the pocket is still parallel to the "face of the body" where the pickups and bridge lay, so I finely tuned the angle by hand as opposed to working it out. Given the retrofit nature of this project with a pre-made body combined with the crazy body radii, I thought it best to take it up to the angle by planing and hand sanding it into tune. Turns out this was easy, although it would be far more difficult for a set neck of course. Lined up the TOM bridge with an offset and marked in the string ferrule positions using a slightly expanded mirror as per the end of the fretboard. All working out very nicely. Quote Link to comment Share on other sites More sharing options...
Prostheta Posted March 18, 2009 Author Report Share Posted March 18, 2009 (edited) Here y'are!! Perry used a rotating sanding affair with a driver and finished with hand sanding, whereas I sanded by hand all the way as I couldn't trust the paper to not grab and walk all over my board :-D Either way. Edited March 18, 2009 by Prostheta Quote Link to comment Share on other sites More sharing options...
Maiden69 Posted March 19, 2009 Report Share Posted March 19, 2009 Can I put this one to bed please, before it sours this build thread with unneccesary debate? Thanks. I'm crediting Perry with the idea as I was inspired by his usage of the technique whether it was his in the first place or not. That was never in question. Perry's multiscale build as detailed elsewhere here on PG is where the idea came from for me anyway. I'm sure that other luthiers utilised this before Perry implemented as well, but either way - it's irrelevant. This is what I mean. It is not that Perry was the one that came up with it... but he is the only one, to date that I have seen making it, or posting it here for that matter. I have exchanged PM's with him a few times and this is one of the few reasons you don't see many build from him here. If you recall better, he was not the one that posted about the multiscale guitar, but killemall8 did before him. There are a lot of gifted builders here, and I'm sure that if you use an idea from them, they will be more than glad that you give them that pad in the back by giving them credit. Like I posted on my case, I know that there are a lot of people that had stained their guitars before Myka, Drak or anyone here, just that I emulated and made "mine" their method, and everytime someone ask me I point them in their direction. You are developing as a good builder, that is why I'm following this build. I'm not criticizing you for "copying" a style, I do that all the time (copy)! Keep up the good work, and let's leave the debate for now and concentrate on the build. UPDATE: Created the neck angle by planing the face of the heel to mate with the newly opened-out neck pocket. The angle in the flat of the pocket is still parallel to the "face of the body" where the pickups and bridge lay, so I finely tuned the angle by hand as opposed to working it out. Given the retrofit nature of this project with a pre-made body combined with the crazy body radii, I thought it best to take it up to the angle by planing and hand sanding it into tune. Turns out this was easy, although it would be far more difficult for a set neck of course. Lined up the TOM bridge with an offset and marked in the string ferrule positions using a slightly expanded mirror as per the end of the fretboard. Wow, certainly sounds like a lot of work, have you tried making a jig like the one Myka uses for his neck pockets. I used a temporary jig like it to make the angled neck pocket for my single cut and it worked great. I could even fine tune it to shave about 1/8" from the heel of the neck too! Quote Link to comment Share on other sites More sharing options...
westhemann Posted March 19, 2009 Report Share Posted March 19, 2009 The thing about Perry's guitar ideas is not necessarily that he is always the first to come up with it,it's more that when he does it,it's so well done that it becomes THE definitive example of the idea in it's most perfect form...or something like that. I just never see him half-ass an idea...and honestly,there are few here or anywhere that can consistently create innovative applications for these ideas. Quote Link to comment Share on other sites More sharing options...
Prostheta Posted March 19, 2009 Author Report Share Posted March 19, 2009 Wow, certainly sounds like a lot of work, have you tried making a jig like the one Myka uses for his neck pockets. I used a temporary jig like it to make the angled neck pocket for my single cut and it worked great. I could even fine tune it to shave about 1/8" from the heel of the neck too! Yeah, i've used a temporary jig for neck pockets like this for a few bodies, but in this case I wanted to leave as much meat under the neck pocket as possible instead of deepening it since it's a bolt-on and there was an existing pocket. It made more sense to me that I should tune the face of the heel as there is stock to spare on there. It was actually far easier work than building an angle into a pocket in this instance as I merely used a no.5 plane and a block with 80 grit paper to dial it in. I checked the neck against the body a few times for twisting to one side with a home-made winding stick (a PENCIL!!!) DST'ed in the nut slot position and one on the body. The angle shows the TOM at the bottom 4-5mm of it's adjustment range with a straightedge along the face of the fretboard and nooked into a saddle slot, so I know that once the frets are in place I have as much height adjustment range as is possible. A fair amount of trial and error (erring on the safe side!) with plenty of checking and planning the next step allowed me to achieve this in around 20 minutes. I agree 100% about debating outside the context of this build thread. I don't build for kudos or for "internet props". I build because I will end up with an awesome guitar to my own specs and design which is the point of it all. I share the process as it's useful to open it up for discussion, plus I think it's awesome that what I can achieve with my horrendously limited workspace can be of use to other people in their own projects perhaps. I'm going to get the kettle on to make a coffee. Anyone good for a cuppa? Cheers. Quote Link to comment Share on other sites More sharing options...
Maiden69 Posted March 19, 2009 Report Share Posted March 19, 2009 The thing about Perry's guitar ideas is not necessarily that he is always the first to come up with it,it's more that when he does it,it's so well done that it becomes THE definitive example of the idea in it's most perfect form...or something like that. I just never see him half-ass an idea...and honestly,there are few here or anywhere that can consistently create innovative applications for these ideas. +1 Quote Link to comment Share on other sites More sharing options...
ElysianGuitars Posted March 22, 2009 Report Share Posted March 22, 2009 (edited) I dont think its fair that EVERYONE gives credit to Mr. Ormsby for that "idea". Ive know luthiers who did that WAY before Perry became popular. It just wasnt thought of or known as well. True, but Jake Carpenter didn't invent the snowboard, and Shakespeare didn't write Hamlet. I think its a case of whoever made it popular. In this case, Mr. Ormsby has copyrighted the word "multiscale" which leads most of us into pointing the idea at him. I've never seen the offset scalloping though. I don't really see any use for it other than cosmetic. It does look nice. doing some research, i found he only has it trademarked in australia, meaning that it does not stand in the US, and its also not even gone through yet, as of march 19th, its "Under Examination". honestly, i hope its contested, because the term multiscale is not ormsby's idea, its been around for almost 2 decades now, and trying to use such a common phrase to describe such instruments as a "brand name" is pretty crappy to the rest of the guitar building world. all you have to do is google multiscale guitar and you'll see ormsby is truly doing the rest of the world a disservice by trying to own this term. Edited March 22, 2009 by ElysianGuitars Quote Link to comment Share on other sites More sharing options...
Prostheta Posted March 22, 2009 Author Report Share Posted March 22, 2009 Okay, point taken. Can this be taken to another thread, especially as this build thread isn't even a compound scale instrument? I might post pics of the body later on today if I get chance to get rid of the last of the sealer and grain fill it.... Quote Link to comment Share on other sites More sharing options...
Rick500 Posted March 23, 2009 Report Share Posted March 23, 2009 Cheers, Carl, that £5 was good for beers on two consecutive weekend nights. Saturday: Sunday: It's been a great weekend. Quote Link to comment Share on other sites More sharing options...
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