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Here is what we end up with. A little mineral spirits give us a future glimpse of where it will be with clear.

Are you actually gonna make this thing, or just look at it?

Sanded flat. Of course the blush did not come out so I had to sand a bit more than I wanted and managed to cut through in to spots. Tiny tiny spots but still have to be fixed before I can buff. I shot some blush remover carefully over the hazy spots and it is almost ready to go. I am going to throw a light coat on it after touching up the cut through spots. The weather here has been atrocious for painting. Every weekend it has rained or been around 89% humidity so no real paint can be sprayed until we get a break with some dry weather.

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How do you manage that big amount of humidity in the shop?... I mean, no only the paint, but the woods and so on...

Now I'm living in Vienna and sometimes think that I could not have a workshop here due to humidity changes, from 40% to 80% all year round... it's really crazy... the few places I've seen here that could fit for a shop are moist like caves. Any advice?

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How do you manage that big amount of humidity in the shop?... I mean, no only the paint, but the woods and so on...

Now I'm living in Vienna and sometimes think that I could not have a workshop here due to humidity changes, from 40% to 80% all year round... it's really crazy... the few places I've seen here that could fit for a shop are moist like caves. Any advice?

It sucks and I am not good at it.

I keep all my wood on high shelves never more than a few boards together on a shelf. I keep like woods together and for real exotics I wax the ends and sticker them (use wood spacers between the boards so air can flow). I try to do all my cuts and titebond glue ups in the winter when it is dry. I try to work out assemblies in the spring/summer and use epoxy so don't introduce any extra moisture. In the Fall it gets nice here and I try to clean out the shop and do some more cutting and glue ups.

The real fix is climate control for the shop but I can't afford that. AC and Heat would be great.

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I know the feeling.... my workshop/woodstore is the attic of my house. In the winter it's barely above freezing & in the summer it hits 40'c with no ventilation - at least the humidity is fairly stable.... in the summer I try to use power tools only - any handtool use & I'm sweating buckets & get dehydrated quickly or if the weather is good (like lately - unusual for my part of the UK lol!) drag everything down & work outside but I need to get a good enough period of time to make this worthwhile.

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I guess is a pain in the ass, but also guess that is not a real problem due to your constant production... since you manage your workflow in a seasonal way, even you can store some wood... the real question was if you really notice that those weather changes affect to, let's say, the 'quality' of the instrument. I'm more afraid about the setup stage, cause I have not much experience with woods in a long term - I was used to buy the wood and build the guitar, so the storage was in the store.

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I guess is a pain in the ass, but also guess that is not a real problem due to your constant production... since you manage your workflow in a seasonal way, even you can store some wood... the real question was if you really notice that those weather changes affect to, let's say, the 'quality' of the instrument. I'm more afraid about the setup stage, cause I have not much experience with woods in a long term - I was used to buy the wood and build the guitar, so the storage was in the store.

I almost never buy then build. Most of my woods have been in the shop for at least a year before I work with them. Some longer. Especially stuff I order from the Internet that might come from the West Coast or Canada. I let that stuff sit at least a year.

I do have a local supplier that keeps his wood inside climate controlled and I can buy a piece, cut it, glue it, and have it remain stable during certain parts of the year when the humidity is low and the temperature is mild (closer to the shop it is was in).

Species matter as well. Zebrano or Zebra wood is moody stuff and it hates climate change. It will split, check and warp anytime it feels like it. Sapele and Khaya tend to be more stable and safer to work with during times of the year when climate is unstable. Bloodwood and Maple are almost always safe to work anytime. Cocobolo and Bocote not so much. Limba and Wenge can be moody but not a s bad as Zebrawood.

Basically the more change in climate the longer I let the wood acclimatize before using. This way I see the least amount of fluctuation (expansion/contraction) of the wood. If I think I am going to have a run of sunny days and the weather will be consistent I work on major construction. If I know it is going to fluctuate I do simpler stuff...

I still mess up as you guys saw with the 6 string bass last year and the 8 string body blank this year. But I know what causes it and try my best to avoid it.

Storing the wood outside in the garage on shelves with air space around it allows the wood to stabilize as best as it can without real climate control. Worst thing you could do is keep a board in the house then take it outside, cut it, sand it, glue it and not bring it back inside the same day. Change makes wood unhappy.

I left the last 2 S9 guitars out in the garage for almost a month before finishing because I knew if I took them inside the change in climate would cause them to "freak out". Once the finish is on them it is safe to move them... only extreme changes will affect them then (like freezing outside into the warm dry house in the winter).

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All these parts are going to be a LP at some point.

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Putting the covers on the humbuckers

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Tone Pros bridge and tailpiece

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Using brass inserts and socket head stainless steel screws to mount the pickups. Also I decided against vintage wire inside so here you see the switch wires.

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Almost full dress. I think the knobs are too orange and not dark enough so I am ordering another set. I haven't finished the trussrod cover. I will try and cut it next week. I cut the pickguard down so it fit tighter against the pickups (without rings). Lastly I am probably going to take all the plastic off this thing after I get the pictures done.

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Does it sound like an LP? Or do those all American diablos take it somewhere else?

SR

Right now I would say it sounds like a LP with some bite and clarity. The all american Diablos are very very interesting. Not as HiFI as the regulars but very serious low end. Very serious. The open low E will knock your fillings lose.

The guitar has a lot more bass to it and some really raunchy mids compared to an S9. Fortunately I finished it right as Phobos came for a tune up so I got to compare the 2 side by side, same amp just switching the chord. It is not clear like an S9 but it is clearer than some other LPs that have come to visit.

Overall it sounds like a Hot Rodded Limba LP. That is a good thing.

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