peterbrown Posted April 7, 2011 Report Share Posted April 7, 2011 (edited) Hi, Have been working on this one for a while and thought I'd share it with you Body - Chambered blackwood with fiddle back blackwood top and matching back plate Neck - Three piece laminated blackwood with atpered fiddle back centre stinger Pretboard - Ebony with custom paua 12th fret inlay Hardware - Gotoh 510 bridge with shaller tuners Pickups - PB custom wound hummies Cheers Peter Edited April 7, 2011 by peterbrown Quote Link to comment Share on other sites More sharing options...
ScottR Posted April 7, 2011 Report Share Posted April 7, 2011 I very much like the wood in this one. I like the way the build is going as well. Please show us more. SR Quote Link to comment Share on other sites More sharing options...
guitar2005 Posted April 7, 2011 Report Share Posted April 7, 2011 what's a pretboard? Quote Link to comment Share on other sites More sharing options...
peterbrown Posted April 8, 2011 Author Report Share Posted April 8, 2011 Hi, More progress pics as requested. Cheers Peter Quote Link to comment Share on other sites More sharing options...
Ponticat Posted April 8, 2011 Report Share Posted April 8, 2011 Very clever! Quote Link to comment Share on other sites More sharing options...
peterbrown Posted April 8, 2011 Author Report Share Posted April 8, 2011 Thanks Ponticat, It was just a case of making a thin cut out of the back plate before gluing and binding the cover in place of the cut. More progress pics of the inlay I did a mock up of the inlay first to give the customer an idea of what it will look like And the inlay Cheers, Peter Quote Link to comment Share on other sites More sharing options...
verhoevenc Posted April 8, 2011 Report Share Posted April 8, 2011 What'd you put in the slots during glue-up? Very impressive build. Chris Quote Link to comment Share on other sites More sharing options...
ScottR Posted April 8, 2011 Report Share Posted April 8, 2011 It's hard to tell, but is the top bound? It also looks like you resawed the top and bottom off of the core blank. If so, that is very, very cool! Love the accents you are putting in too. Like Chris said, this is a very impressive build. SR Quote Link to comment Share on other sites More sharing options...
peterbrown Posted April 8, 2011 Author Report Share Posted April 8, 2011 Thanks Fellas, Chris, I have some plastic in the slots. Not sure what it is exactly. Stewmac calls it fret dam or something. It doesn't stick to glue so you can pull it staight out once the glue has set. Scott, Yes the top is bound and has paua purfling as well. Pics below Routing the neck pocket with 2.7 degree angle The binding heat bent and glued Fitting purfling Cheers, Peter Quote Link to comment Share on other sites More sharing options...
ScottR Posted April 8, 2011 Report Share Posted April 8, 2011 This keeps getting better and better. Now, what about that resawed top and bottom? Illusion or real? SR Quote Link to comment Share on other sites More sharing options...
verhoevenc Posted April 8, 2011 Report Share Posted April 8, 2011 So what number build is this for you? If you say 1 or 2 I may just have to hate you... so we'll see I figured that's what that was, but I wanted to check and see if there were some other products. If it's the stewmac stuff I'm pretty sure it UHMW plastic (ultra high molecular weight). I use the stuff in my jig for super-gluing side purflings to binding that I can then bend together. Chris Quote Link to comment Share on other sites More sharing options...
peterbrown Posted April 8, 2011 Author Report Share Posted April 8, 2011 Yes, top and back resawn from same billet. And no this is not number 1 or2. I have done a few of these Cheers Peter Quote Link to comment Share on other sites More sharing options...
peterbrown Posted April 9, 2011 Author Report Share Posted April 9, 2011 Hi, More progress pics Cheers, Peter Quote Link to comment Share on other sites More sharing options...
Menapia Posted April 9, 2011 Report Share Posted April 9, 2011 Love'n this build real nice work Peter ,keep the pic's coming. Quote Link to comment Share on other sites More sharing options...
Prostheta Posted April 9, 2011 Report Share Posted April 9, 2011 (edited) Chris, I have some plastic in the slots. Not sure what it is exactly. Stewmac calls it fret dam or something. It doesn't stick to glue so you can pull it staight out once the glue has set. I presume it is a high density polymer that glues just won't grab, or Teflon. Love the build. Blackwood is beautiful. <edit: sorry Chris. I didn't see your post....skim reading on the tablet again, just looking at the colourful piccies....!!> Edited April 12, 2011 by Prostheta Quote Link to comment Share on other sites More sharing options...
mattamatta Posted April 10, 2011 Report Share Posted April 10, 2011 Those inlays are beautiful! Quote Link to comment Share on other sites More sharing options...
peterbrown Posted April 11, 2011 Author Report Share Posted April 11, 2011 Thanks for the kind words fellas, More pics of fretting. stainless Medium jumbo Cheers, Peter Quote Link to comment Share on other sites More sharing options...
Prostheta Posted April 12, 2011 Report Share Posted April 12, 2011 That's certainly a beautiful inlay and a great fingerboard! I would be somewhat concerned about neck movement after the profile is cut and carved, taking the fingerboard out of whack....I'm sure that's less likely with the neck having been cut up and laminated though. +1 on the stainless fretwire. I love the stuff on basses, and the "Evo" alloy is probably the softest wire I would be happy using from hereonin. Damn that inlay is slick!! I can't help but keep scrolling back up and looking at it again....any chance of a closeup in good natural light once it's all dressed and polished? ;-) That design really flatters the Abalone, and vice versa. Quote Link to comment Share on other sites More sharing options...
peterbrown Posted April 13, 2011 Author Report Share Posted April 13, 2011 Thanks Prostheta, I am not sure that I quite get what you mean by neck movement after cutting to profile. How wuld this have been avoided, by cutting the neck profile prior to glueing? My experience has been that this is the most stable way of getting a flat fretboard. Ususally warping results from poor quality timber or a reaction to environmental factors such as heat and moisture. More pictures of rough carving the body and rough carving the neck. I do the final shape to profile once the neck is in place. And Prostheta, you concerns should be relieved, as the neck is still straight. Cheers, Peter Quote Link to comment Share on other sites More sharing options...
peterbrown Posted April 15, 2011 Author Report Share Posted April 15, 2011 Hi, More pics. Shaping the heal into the body for improved upper access and final shaping the neck to profile Cheers, Peter Quote Link to comment Share on other sites More sharing options...
pauliemc Posted April 16, 2011 Report Share Posted April 16, 2011 realy like all the pin stripes on this thing. Lookin good man. Quote Link to comment Share on other sites More sharing options...
guitar2005 Posted April 17, 2011 Report Share Posted April 17, 2011 Beautiful guitar. Is the binding around the pearl made out of wood? How do you bend that? Quote Link to comment Share on other sites More sharing options...
Juntunen Guitars Posted April 17, 2011 Report Share Posted April 17, 2011 How did you route for the inlay? just a dremel and an exacto blade for the sharp corners? And did you use black expoxy or what for the glue? That is definately one clean inlay. Quote Link to comment Share on other sites More sharing options...
peterbrown Posted April 20, 2011 Author Report Share Posted April 20, 2011 Hi, The binding is timber. Flamed maple. The binding is bent in much the same way as acoustic sides. I wet the binding and then bend it around the bending iron. The same goes for the back plate of the headstock. It is necessary to pre bend the binding with heat especially around the tight bends to prevent tear out when gluing I rout the inlay with just a down cutting demel bit. I start with a small bit to goe around the outside. I rout just up to the chalk line just taking enough so that the chalk line disappears. Once the outline is routed I use a larger bit to take the bulk internal material out. I don't see the need to cut the top edge as the down cutting bits leave a clean edge. Plus as you radius the fretboard you are essentially removing the top edge anyway exposing a new clean edge at the interface. I use epoxy tinted with black stain to match the ebony. When using other timbers I mix in some filings of the timber I am inlaying into with the epoxy. Cheers Peter Quote Link to comment Share on other sites More sharing options...
peterbrown Posted April 27, 2011 Author Report Share Posted April 27, 2011 Hi, Dropped this off over the easter weekend Final Specs Body - Chambered blackwood with fiddleback blackwood carved top and matching backplate with maple highlights (cut from same billet) with cavity cover cut from the back plate. Binding is flamed maple with paua purfling. Fretboard - Ebony with blind binding (to cover slots) and tribal wave paua 12th fret marker and offset dots. Neck - laminated quarter sawn blackwood with tappered fiddle backed centre and maple highlights. Headstock top plate and bent backplat is highly figured blackwood with maple highlight. Hardware - shaller tuners and Gotoh 510 wrap around lockable bridge. Pickups - PB A5 vintage wound missmatch in the neck for those sparkling clean tones and and punchy overdrive. PB A2 hot wound in the bridge for the smooth overdrive tones. Cheers, Peter Quote Link to comment Share on other sites More sharing options...
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