Jump to content

Leaderboard

The search index is currently processing. Leaderboard results may not be complete.
  1. Bizman62

    Bizman62

    Veteran Member


    • Points

      643

    • Posts

      3,181


  2. ScottR

    ScottR

    Moderator


    • Points

      572

    • Posts

      11,273


  3. Prostheta

    Prostheta

    Veteran Member


    • Points

      480

    • Posts

      14,500


  4. Drak

    Drak

    Veteran Member


    • Points

      356

    • Posts

      6,158


Popular Content

Showing content with the highest reputation since 08/05/2020 in Posts

  1. Well, I may as well kick things off. May I present, "Its-a-what?" It is in fact a Guitar Bouzouki. The playing geometry of an Irish Bouzouki matched with the modified body design of a steelstring OM acoustic. I confess, when P asked me if I could make him one, my reaction was indeed, "It's a what??" It's my fifth acoustic build - and definitely my first Guitar Bouzouki In terms of other builds, what started as an urge to mod and improve my own guitars around 10 years ago led to builds for myself and band-mates and then occasional commissions such as this. Vital stats: - 25.5" scale; OM acoustic body design, shortened on upper bout allowing for neck joint at 16th fret - Spruce top; Red Gum Walnut back and sides; Maple neck with walnut centre splice; Macassar fretboard - Four unison pairs of strings, tuned to GDAD - K&K Pure Mini passive transducer system for amplification/direct recording - Standard polyurethane varnish on body brushed on using an artist's watercolour fan brush. Tru-oil slurry and buff satin finish neck Here are some pics: Build thread is here: Having never heard of one of these before being asked to make one, I clearly had never played one. But this has turned out to be a delight of a player, in spite of the very deep (27mm) neck. As such, it only seemed right to try to compose and play a ditty on it to show what it sounds like. This - an acoustic recording on my little Zoom mic recorder - is called "Ignorance is Bliss". My apologies to all proper bouzouki players :
    12 points
  2. Okie dokie, that's a wrap! This is really my first proper commissioned build, and I'll be delivering it to its new owner later this evening. Really hope he digs it! I sold some guitars I built a while back, somewhere around 12-14 years ago, but I've never taken someone else's "dream design" all the way from sketches to finished guitar before. Honestly it was a pretty nerve-wracking experience. This is probably the best sounding guitar I've ever built though, and has a looot of natural/acoustic sustain for some reason. I'll post some video/audio in a bit.
    11 points
  3. I've been telling people that there are two kinds of people in this world: people who will build a guitar during the pandemic, or people who sit on their couches and watch Netflix. I'm proud to be in the former group with you all! The Black Queen Woods: - Macassar ebony neck and body core, and tremolo cover - Swamp ash wings, quilt maple top, - Gaboon ebony fret board with silver wire starfield inlay, and pearl 'planets' Scale length: 25" Special bits: Authentic Trisonic pickups hand-made by a gentleman who builds Red Special replicas and uses the spare parts bought from the Greg Fryer restoration of the Red Special and replica builds for Brian May. Replica Red Special tremolo from RS Conversions. Hardware: Sperzel open back tuners, Electronics: Three mini switches that control phase-off-phase of each pickup. This gives a very usable approximation of May's different voicings without the field of switches. I've lost count of what I've built, I expect it's in the 15-20 range depending on what you count as a build. My first was at 16 in high school and I've never stopped. That one was a full V build of my own design and custom chrome parts that I made. People always ask "are you going to sell it?" and I say NOO!! I build these for myself to play, and they usually have some new technique I want to try or something my other guitars don't have. I build in my shop that is supposed to be a 2-car garage but has never held a car, much to my wife's dismay. This particular build was inspired by the Red Special and May's building of his own instrument. That was a large influence for me and I've always loved the sound of that guitar. I wasn't interested in building an exact replica though, and wanted to use my own design. The end result plays beautifully and sounds way closer than I thought it would. Build thread:
    11 points
  4. Bit more progress with this. Apologies for the post being a bit pic-heavy. The pickups arrived. The pickups themselves have a bottom multi-wire connector which, with the three way switch supplied, gives the three options of 'P' bass' (diagonal split); 'Jazz bass' ( single coil); Humbucker. They are passive, so the only connections needed to the PCB on each switch is a ground, a hot out and a 9v in to drive the LEDs: A wants a straightforward 'off/on' for each with a master volume and a master tone. We decided on this as a layout: With those large connectors, I needed to make some pretty large cable channels in the rear wing. Note also the cutaways for the battery to slot into. I did a 'spare' just in case of a change of mind of the switch layout: So now I could glue the wing on, deepen the control chamber and round the edges: And then onto the pickup chambers. As you know, I hate routers - but there are times when only a router will do. My way of trying to limit the damage potential is to use - wherever possible - a router bit that it fully captive and can't go off and do unsociable things. With the normal warning that this is just how I personally do it and not that 'this is how it should be done', what I do first is mark out the pickup outline + 0.5mm clearance on the top. I then drill the corners with a decent bradpoint 1mm diameter bigger than that of the pickup corner: I then hog out with a forstner right up to the line: I use a sharp chisel, again up to the line, to create an accurate line joining the drill-hole tangents, down to about 10mm. This is what the router bearing will run along. Note I've broken through to the channels I made in the back wing to get those sizable connector through: Then, I use a flush bearing bit to tidy the sides up and bring it to full depth: And finally I chiselled the cutout for the connector block sitting at the bottom of each pickup. This then allows the pickups to drop down, if required, to the lowest practical position: So, as this is the last flat router surface I need, I can now glue on the fretboard and start the neck carve - which are the next two jobs As always, thanks for looking
    9 points
  5. "The Les Flaus" - Lucky scratch build #7 for me! FINISHED WEIGHT: 8lbs 6.9oz BODY MATERIAL: QUILTED MAPLE(CORE), 3/4" 4A QTR SAWN CURLY MAPLE CARVED TOP BODY CONSTRUCTION: FULL LENGTH HOLLOW CHAMBER ON EACH SIDE, SOLID CTR BLOCK BINDING: SINGLE PLY CREAM NECK MATERIAL: CURLY MAPLE/WENGE/CURLY MAPLE NECK JOINT: 4DEG ANGLE SET NECK NUT: BONE SCALE LENGTH: 27.5" FRETBOARD: 24 FRET FRETBOARD RADIUS: 16" FRETBOARD MATERIAL: GRANADILLO FRETBOARD FRETS: EVO GOLD MED LOW FRETBOARD INLAY: GOLD MOTHER OF PEARL TRUS ROD: AT HEAL THRU 21ST FRET (ALLIED LUTHEIR) HEADSTOCK MATERIAL: INDIAN ROSEWOOD HEADSTOCK ANGLE: 14DEG HEADSTOCK INLAY: GOLD MOTHER OF PEARL + IMITATION GOLD LEAF TUNING MACHINES: GOTOH SD90 3X3 VINTAGE AUTO LOCKING 1:15 RATIO BRIDGE: GOTOH GE101/103 TUNE-O-MATIC PICKUPS: SEYMOUR DUNCAN SENTIENT BRIDGE/NAZGUL NECK 3-WAY TOGGLE (ALLPARTS), 2 MASTER VOLUMES (BOURNES)... 4P4T (ALPHA) ROTARY(1:PARALLEL/PARA, 2:PARA X-PATTERN, 3:SERIES X-PAT, 4:SER/SER) PUSH/PULL (BOURNES) ACTIVE DIRTY-BOOSTER ELECTROSOCKET JACK (NEUTRIC 3 CONDUCTOR) BUILD ORIGINS: Was planning on doing a series of teles... as I thought I'd save effort by using a common set of templates more than once. While I was busy thinking about plans for the first two, I came across a craigslist add for a tele body. It had a cedar top that was meh, but a quilted maple body that caught my eye. That was the random start to this build and so the "Les Flaus" was born! I wanted something that was going to be equally apt to play sphagetti western to more modern rock... and I figured the two humbucker format would be best for that. I settled on a design to turn the guitar into something resembling a les paul, but with a tele shape and a baritone scale length. Why "Les Flaus"? Well, mostly - I just thought it was funny! It needed to be 'less something' to pay homage to it's origin, and "flaus' is a little less obvious then 'flaws' but means "imperfections' in german. I thought a lot about how one might improve on the les paul format, and a common complaint about them is the typical neck break. By moving the truss access to the 22nd fret and away from the headstock/neck transition - I strengthened that transition. I also added a valute, and a spline going down the headstock as well. I like to set milestones for myself - to try and raise my skills beyond myself. This guitar would represent a number of challenges for me: first time doing a carved body, first time doing a headstock with such delicate curves. First time doing a multi laminate neck. First time doing an traditional angled les paul neck joint. As usual, it is only through the examples set by the luthiers here on projectguitar, the encouragement, wisdom and friendship, that I arrived at the end of this journey with the following guitar... so thank you to the many members who made this possible! VIDEO DEMO: MY BUILD THREAD FOR THIS GUITAR CAN BE FOUND HERE:
    8 points
  6. Well I think this one is done as well. I’ve installed brass inserts in the pup cavities for these bolts, oiled and waxed the neck, etc. I put on some Hipshot tuners cause the Sperzels were breaking strings (3 at once!). I’ve filed the post holes a bit, but these have a better gear ratio. They are also 3 ounces heavier and cause a little neck dive when sitting. I’ll see if a strap changes anything. I cut a fourth (!) pickguard, and crap if I didn’t get the neck opening off, plus a tiny nick. But the rest looks so good I guess I’ll do it again. But not today lol. There are no side dots, I wanted to keep it clean. But, I gotta say that the tentacle loops don’t really scream at you when you are looking over the top of this board and navigating the two extra largest strings. So, I’ll probably do that sometime in the future. The thing sounds like a dream, the notes ring forever. The combo of the coco neck and active pups really make it really sound alive. I’ll get some proper pics soon. My shop lighting is bright but horrible for pictures.
    8 points
  7. My absolute favorite step in the build is dying the maple, here’s some shots of the process: First coat of black. Sanded back. Red added. Sanded back. Orange added and sanded back. Yellow added to middle, red added again to sides, both colors blended while wet. This shot was taken after drying out. This is a shot of the headstock when it was still wet, which is close to what it will look like after I add the clear coat finish.
    8 points
  8. Well I may as well kick things off for this month. This is my second scratch build (ironically finished before my first). I built it partly at home and partly at a woodworking club I am a part of. I made it because everyone needs a strat in their collection and it gives me some more experience prior to fully delving into more complicated builds like my 12-string Rick Copy. Name - Desert Colours Body - Australian Red Cedar Neck - Queensland Maple Fretboard - West Australian Sheoak There are side dots but obviously no fretboard dots because I didn't want to interrupt the figure of the wood. Scale - 25.5" Weight - 2.9kg (6lbs 6oz) Grover locking tuners Tusq nut. Pickups are my own winds with Alnico 2 magnets. Bridge - 6k Middle - 5.85k Neck - 5.68k Master Volume, Master Tone and Fralin Blend Pot Mod The finish is clear acrylic lacquer sprayed with a DeVilbiss GPI spray gun. It was the my first time using a decent quality spray gun and the finish off the gun was far better than anything I'd achieved before which meant I had minimal wet sanding and polishing required.
    7 points
  9. So I trimmed the edges... And I was in love! The guitar became quite rigid after the glue-up! It kept the contour quite nicely!! Seems to have no voids! I like it a lot! This is my first real hollowbody build and I am super excited!! Thanks! I enjoy the process very much!!
    7 points
  10. Unclamped everything and roughed in the body today, really happy with the way the bevel joint came out! Nice and crisp. These were taken with the wood wet to show figure/grain, and man is that mahogany red! I pulled the color saturation DOWN on these images and it still looks super red; look how different it looks compared to my bench. Im used to mahogany looking more brown/gray, this is probably the most richly colored bit of mahogany I’ve worked with, glad he’s going to be keeping the back natural.
    7 points
  11. Thanks fellas, and no @Bizman62 thankfully not - this will have a blue/gray stained top, natural faux binding a la PRS, everything else left natural under a gloss finish with a satin neck. Some planing: Here’s one of the most bizarre tricks I’ve tried: my buddy wanted a flat top with a bevel for the arm, and for the drop top to bend over and cover the entire bevel. I don’t think he realized exactly what he was asking for given the quarter-inch drop top, but I decided not to tell him and tried this technique I saw Padalka using once upon a time. Soaked the wood and slowly bent it over a scrap body, keeping the wood wet for about three hours and slowly turning the screws every so often throughout the process. Let it dry by the wood stove overnight and came back the next day, removing the screws to find it held the curve quite nicely! No splitting or cracking and the top is currently gluing up on the body, which I carved to match the scrap body I bent the top over. Full disclosure, I’m not exactly certain this will work as far as getting a nice clean joint; this is probably the weirdest and most hectic top-gluing I’ve ever done, but I’ll know tomorrow once it’s all dried and the body shape is cut.
    7 points
  12. And so, as a post-script. P and his delightful wife arrived last weekend to pick up the Guitar Bouzouki. And I think he would be happy in me saying he loves it For me, that is a great pleasure and relief in equal measure! P was able to bring his standard Irish Bouzouki for me to have a look at and listen to and that was fascinating. We both agreed that the Guitar Bouzouki has a much richer sound (which would be hoped and expected) and a strummed chord just goes on, beating sub-harmonics all the way, for a long, long time. The neck between the two instruments was quite different, part designed and fully expected and part more of a surprise. P had requested it to be wider and shallower than his original which will always change the curves and feel, but the thing I noticed straightaway was that the 'V' on the original felt distinctly V shaped to the hand further up the fretboard than my build. It doesn't really show on the profile drawings but it does give it a different feel further up the board. Not necessarily a bad feel, but certainly a different feel. Changing that, if P's conclusion was that he wanted that tweaking, is actually a very easy fix and the sort of thing that can be done on a 'while you wait' basis. And there's a crazy coincidence (that I won't go into detail on) that might mean that finding a convenient time to do that would not be too much of problem. But, that said, even at first play, this is P showing how a Guitar Bouzouki should be played. Glorious! And particularly glorious through headphones
    7 points
  13. Thanks guys. Update on finishing. This is after the 4th coat of Tru Oil. Lots of fine sanding has things starting to feel pretty smooth, and I'm starting to get a little build and shine. I reckon I'm 1/3 of the way there give or take, but in my experience it's just done when it's done, I'll keep oiling and sanding until it looks right.
    7 points
  14. It actually came with the jeweler’s saw I bought for cutting inlays, the whole thing was quite cheap ($15-$20) but the jig and saw both work great! Sanded it flush this morning and thank God it turned out alright, this is still dry with no oil and I’m hoping that will help blend in my “fixes” even better.
    7 points
  15. A while back I was carrying on a conversation in here and noted that my later build threads didn't have as many explanations as earlier builds did. I felt like I've been repeating myself over the years and started letting the pictures tell more of the story. And I got taken to task for that lazy attitude. Apparently many folks reading my posts haven't been around for all of them. And they'd like a chance to learn what I've learned. So This time I'll try to explain more about what is going on in my messy little workspace. What is one of the most important lessons learned in here? Test on scrap. This guitar is going to have a curly maple top and an ash back and neck. I want it to give the impression of being black, while still letting all the pretty wood show through. So here is a maple scrap sanded to 400. And Now to dye it very dark without using black, which tends to make things look dirty. For this I used Transtint dyes--Blue, Burgundy, and Mahogany brown--mixed in acetone. Once dry I wiped it back with a clean rag dipped in acetone, but apparently I found those wipe back pictures to ugly to keep and weeded them out. Then I sanded that back with 220, 320, and 400. Then I took some of the first color and added acetone, more blue and lemon yellow. And wiped that on. And sanded it back with 320, 400 and micromesh 1500. The idea is to sand back with increasing finer grits and add lighter more dilute colors each time. I'm working to create mid-tones to go with the shadow tones and highlights. and the finer grit sanding polishes and increases the chatoyance. Next I dilute the original color some and wipe that on. Wipe with acetone and sand back with 400, 1500, and 1800. And dilute the greener color likewise. SR
    6 points
  16. Welp, can't have a month go by with no entries, right? This was my first "real" commission build - I sold some guitars that I built a long time ago, but never took someone else's design from the ground up and made it a reality, so this was a new experience for me. He's a big fan of PRS guitars, and his design choices obviously reflect that; it's the Custom body shape with a flat top, basically. He had a Strat with a neck he really loved, so I took some contour gauge and caliper measurements of that and duplicated the thickness and profile as closely as I could. Specs: - 25.5" scale, 24 Jescar stainless frets, abalone position and side markers. - Indian rosewood fretboard. - African mahogany body. - Curly maple top with natural faux binding. - Curly maple one-piece neck with 2x carbon fiber reinforcement rods. - Seymour Duncan Custom 5 and 2x Classic Stack pickups, 5-way blade, volume/tone/tone - Gotoh tuners. - Hipshot bridge. Didn't get a long demo recorded or anything, but this is what it sounds like through a 1987 Mesa Mark III+ And that's about it! Cheers my dudes.
    6 points
  17. So I finally finished this project and thought it might be fun to post the results here despite not being active for 10 years. Here it is in all its glory! As mentioned above it's walnut and maple neck-through. Finish is oil and wax. Closeup body. The top knob is a 4 way rotary switch (Bridge HB - Split Neck+Bridge - Split Neck - Neck HB). The other two are volume and tone. Headstock. The recessed tuners aren't by design, I made the headstock too thick to fit them and didn't feel like sanding it down. Back side. Some of the more visible mistakes. I took too much off of the neck and had to glue on a scrap piece. On the back the ferrules are uneven and I had to file two of them just to get them in. Also, mid way through the project I decided to change from having back loaded electronics to putting everything on a pickguard, after having already started to work on the control cavity from the back. I also got a bunch of wax stuck in pores and gaps. I've also broken three screws by not drilling pilot holes well enough! All in all I'm really happy with the project. I still love the design and it turned out pretty much exactly like I wanted. I think I'd maybe prefer a more glossy finish. Best of all, it's actually playable!
    6 points
  18. And while that glue is drying we prep the top for glue up. I hope to get two tops, a headstock plate and a control cavity cover out of this. And while that glue is drying, I finished my body shape and cut it out. SR
    6 points
  19. I guess its that time again. I had been using a thread that was 2 years old. I havent updated progress in a while. I had been working on a ton of guitars, but havent finished many. I also vow to do more in progress/ video tutorials this year.
    6 points
  20. All hardware now on. Time for a weigh in. And for those of you who speak the historic language of pounds and ounces. A couple of shots from today. I'll try to get some better ones tomorrow when there is a bit more light. I just need to level and crown the frets then I can string it up.
    6 points
  21. Forgive the self indulgence As always, thanks for looking, folks
    6 points
  22. Hello all!!! Back from the dead!!! It has been six and a half years since I have done any work on this guitar, and about 11 years since I started it. At this pace I plan to be done by the time I am 70. Anyways, I finally have some better woodworking skills and enough money to buy necessities. Plus, I am not a total moron anymore, just a partial one. I decided to sort of reset this project because there were a lot of issues: 1. The fretboard was way too thin -- I was warned by many on here about that one 2. The frets were not seated in all the way 3. I hate hardtail style bridges 4. Everything was just... ugly and rough and quite poorly done. All that being said, I took off the fretboard using a clothes iron and some putty knives and the back of a thin flush cut saw. I then sharpened my handplane and got to work making things flat that were supposed to be flat. Particularly the top, neck-fretboard joint, and the back. Didn't have to take off much material, so it wasn't too bad. I am going to swap the hardtail bridge out for a recessed tune-o-matic. So to deal with the existing holes, I got some plug cutting bits from good old harbor freight and cut a few for the string ferrule holes in the back, and the bridge holes in the front. I bought some cool macassar ebony veneer that I plan on laminating to the top and back faces (excluding the carved edges). Starting to think that I may as well just fill the front holes with some epoxy instead of having to drill them out and plug them, since they will be covered up anyways. I don't see how that would be an issue according to my googling. I also roughed up the neck a little when I was removing the fretboard, and I'll probably fill that spot up with epoxy and wood dust as well. Here's a veneer shot. Looks like it matches the general color scheme here. Not sure yet if I'm going to bookmatch it or just tilt one sheet to fit the whole face. If I tilt it, it would either have a cool effect, or look like total crap. I'll mock it up before I do it. Also, have you guys seen this technique for laminating a veneer? Looks really easy. https://youtu.be/dysWUDX6PdE So anyways, I ordered a bunch of parts, a new pre-slotted fretboard from LMII (no zero fret this time because I'm a big boy), and a fret press attachment for my drill press so these new frets actually get seated. Hopefully I'm not breaking any forum rules with this hyperbump! This time I mean business. Thanks for reading.
    6 points
  23. Davids CU24 finished, some pics of the finished Article. 50% of the garage is in boxes now so won't be touching the Tele build until I'm all setup in the new workshop - Not a bad thing because it's bloody cold in the garage at the moment!
    6 points
  24. I'll kick it off with a resubmission, being narrowly beaten by December's worthy winner Name: Yeti Type: Custom Precision-Bass Body: Live edge English Ash, Epoxy Neck: Canadian Maple (scorched, engraved), Rosewood Fretboard Scale: 32" Components Pickups: Fender Vintage P-Bass Pickups (Passive) Bridge: Hipshot 'Kickass' 4-String Machine Heads: Gotoh GB707's Pots: CTS 250k Log and Linear Other Snaplock Strap locks Custom CnC Pickup Ring Custom Black Anodised Aluminium Truss Cover Custom Black Anodised Aluminium Neck Plate Build#: First ever build Experience: Floating shelves, basic DIY joinery Cost: Don't-Tell-The-Wife territory. Made at home in the garden and the spare room (thanks Covid...), as a 'thank you for being you' gift for a close friend and bandmate (nickname 'The Yeti') who has had a challenging year. Story/Process I began with a lot of research (how I found this site!) and watching things like Crimson Guitars on YouTube. I had been playing around with the idea of doing a River Table, but thought a similar effect on a guitar would be cool. Most other 'River Guitars' I saw were true 'River' style - with the Epoxy through the middle. Doing an epoxy edge instead of river-core had the bonus effect of looking cool and unique, whilst maintaining the structure and sound quality of the tonewood Ash. I found a waney-edge lumber yard about an hour's drive away. I walked out with 5m of rare English Ash (his words, not mine, something about a disease wiping the species out?) and some sequoia I'll use at a later date. Sourced the Epoxy (deep pour variety) from a company in Stoke-on-Trent. Components were a mixture of Guitar shops around Europe/UK + eBay. Custom Aluminium parts were made by a guy in his workshop in Pennsylvania (he was really hard to find). I didn't want to make him a Bass that looked great but had bog-standard cheap parts in it, so wherever possible or relevant, I forked out the extra cash and got something middle to top-of-the-range. This all began in September, juggling WFH with a toddler and typical British weather. The 'Indian-Summer' helped with all the hand-planing and sanding I had to do, as I obviously couldn't do all that indoors. Being my first build, I wasn't brave enough to tackle the neck (lot of specialist tools required for that as well), so I sourced a quality one and customised it by burning it with a torch and making a logo I then engraved into the head (as well as into the Truss Rod Cover and Neck Plate) The rough timber was hand planed, then a piece selected and a rough shape cut out. I did a 1st epoxy pour (blood red), and drilled in some secret long holes for the epoxy to go into the body of the guitar to give it a strong mechanical hold rather than just gripping the edge/bark. After this I cut it to rough shape, leaving space for the 2nd (Clear) pour for the top horn (again, secret 'foundation columns' drilled in). Then the final outline was cut out, and a 3rd Pour done to fill some natural splits and knot holes in the wood. I could then begin planing the edges into a gentle sloped profile (I don't like guitar that are too 'blocky', whilst keeping a 1-3/4" thickness through the middle. One thing I learned, is that before doing this, you should definitely cut out your cavities and pot holes first. It was fine, but made a simple job later on much more difficult. Once this was all done and the pickup and jack holes routed as well as the neck pocket, the whole thing was sanded to 5000 grit to keep consistency between the epoxy and the wood. I then followed Andy's guide on wipe-on-poly process for those who don't have a workshop, here: https://www.projectguitar.com/tutorials/finishingrefinishing/bedroom-builders-wipe-on-varnishing-r67/ . I finished with some Automotive fine polish applied by hand (as per the guide). The fully shielded cavity's cover was cut by hand from a piece of perspex I got off Amazon. The action and everything about it came out perfectly, to the 10th of a degree - so absolutely stoked about that. Two minor problems persisted: One of the knobs doesn't sit perfectly centrally in its pocket (pot alignment issue) by about 1mm. This will wear itself a smooth hole with very little use so I'm not worried. The other slight issue is that one of the pickup guard screws' heads snapped off when screwing in (from hand torque, which I find odd for a screw). He's a purist for finger-style bass playing, so no pickguard to get in the way of the beautiful wood grain. I am absolutely thrilled with how it all came out. It plays and sounds brilliant, and I cannot wait to give it to my friend. I also can't wait to start my next one - which will be a burnt-husk + epoxy + led + Raspberry Pi build for myself from the same Ash wood. Lastly, a huge thanks to the owners and workers of this site, for making a great place for people to come together and share this stuff - but most importantly to users @Bizman62, @Andyjr1515, and @mistermikev for their help and guidance when a few things got a little tough for a total newbie. You guys helped make this.
    6 points
  25. Name: Yeti Type: Custom Precision-Bass Body: Live edge English Ash, Epoxy Neck: Canadian Maple (scorched, engraved), Rosewood Fretboard Scale: 32" Components Pickups: Fender Vintage P-Bass Pickups (Passive) Bridge: Hipshot 'Kickass' 4-String Machine Heads: Gotoh GB707's Pots: CTS 250k Log and Linear Other Snaplock Strap locks Custom CnC Pickup Ring Custom Black Anodised Aluminium Truss Cover Custom Black Anodised Aluminium Neck Plate Build#: First ever build Experience: Floating shelves, basic DIY joinery Cost: Don't-Tell-The-Wife territory. Made at home in the garden and the spare room (thanks Covid...), as a 'thank you for being you' gift for a close friend and bandmate (nickname 'The Yeti') who has had a challenging year. Story/Process I began with a lot of research (how I found this site!) and watching things like Crimson Guitars on YouTube. I had been playing around with the idea of doing a River Table, but thought a similar effect on a guitar would be cool. Most other 'River Guitars' I saw were true 'River' style - with the Epoxy through the middle. Doing an epoxy edge instead of river-core had the bonus effect of looking cool and unique, whilst maintaining the structure and sound quality of the tonewood Ash. I found a waney-edge lumber yard about an hour's drive away. I walked out with 5m of rare English Ash (his words, not mine, something about a disease wiping the species out?) and some sequoia I'll use at a later date. Sourced the Epoxy (deep pour variety) from a company in Stoke-on-Trent. Components were a mixture of Guitar shops around Europe/UK + eBay. Custom Aluminium parts were made by a guy in his workshop in Pennsylvania (he was really hard to find). I didn't want to make him a Bass that looked great but had bog-standard cheap parts in it, so wherever possible or relevant, I forked out the extra cash and got something middle to top-of-the-range. This all began in September, juggling WFH with a toddler and typical British weather. The 'Indian-Summer' helped with all the hand-planing and sanding I had to do, as I obviously couldn't do all that indoors. Being my first build, I wasn't brave enough to tackle the neck (lot of specialist tools required for that as well), so I sourced a quality one and customised it by burning it with a torch and making a logo I then engraved into the head (as well as into the Truss Rod Cover and Neck Plate) The rough timber was hand planed, then a piece selected and a rough shape cut out. I did a 1st epoxy pour (blood red), and drilled in some secret long holes for the epoxy to go into the body of the guitar to give it a strong mechanical hold rather than just gripping the edge/bark. After this I cut it to rough shape, leaving space for the 2nd (Clear) pour for the top horn (again, secret 'foundation columns' drilled in). Then the final outline was cut out, and a 3rd Pour done to fill some natural splits and knot holes in the wood. I could then begin planing the edges into a gentle sloped profile (I don't like guitar that are too 'blocky', whilst keeping a 1-3/4" thickness through the middle. One thing I learned, is that before doing this, you should definitely cut out your cavities and pot holes first. It was fine, but made a simple job later on much more difficult. Once this was all done and the pickup and jack holes routed as well as the neck pocket, the whole thing was sanded to 5000 grit to keep consistency between the epoxy and the wood. I then followed Andy's guide on wipe-on-poly process for those who don't have a workshop, here: https://www.projectguitar.com/tutorials/finishingrefinishing/bedroom-builders-wipe-on-varnishing-r67/ . I finished with some Automotive fine polish applied by hand (as per the guide). The fully shielded cavity's cover was cut by hand from a piece of perspex I got off Amazon. The action and everything about it came out perfectly, to the 10th of a degree - so absolutely stoked about that. Two minor problems persisted: One of the knobs doesn't sit perfectly centrally in its pocket (pot alignment issue) by about 1mm. This will wear itself a smooth hole with very little use so I'm not worried. The other slight issue is that one of the pickup guard screws' heads snapped off when screwing in (from hand torque, which I find odd for a screw). He's a purist for finger-style bass playing, so no pickguard to get in the way of the beautiful wood grain. I am absolutely thrilled with how it all came out. It plays and sounds brilliant, and I cannot wait to give it to my friend. I also can't wait to start my next one - which will be a burnt-husk + epoxy + led + Raspberry Pi build for myself from the same Ash wood. Lastly, a huge thanks to the owners and workers of this site, for making a great place for people to come together and share this stuff - but most importantly to users @Bizman62, @Andyjr1515, and @mistermikev for their help and guidance when a few things got a little tough for a total newbie. You guys helped make this.
    6 points
  26. Lambda Guitars - Carbon14 This is my first attempt at guitar building, the second is in design and will start construction in January. The idea of making a guitar started over 10 years ago when my son started playing, but never had the time to make it happen. Moving back to the UK after a spell working abroad, and the lockdown, gave me the opportunity to finally have a go… It was built in my garage, I have some wood working experience from DIY projects at home, and a background in mechanical and software engineering. Had to buy a router and a band saw for the project. I’ve called my guitar brand Lambda Guitars, as lambda is the symbol for wavelength and I thought the λ symbol would look good on the headstock. It’s also the symbol for radioactive half-life, so since the guitar has a carbon top, it got named Carbon14 after the radioactive isotope of carbon. Some may also remember the computer game ‘Half-Life’ where the lambda symbol appeared throughout? I drew up the plans for the instrument myself, having taken some measurements from my Strat and Epiphone Casino as a starting point. Full scale drawings were done for the body and neck profile/side elevation. The carbon top was added to give the guitar an engineered look, and also for its mechanical properties. Being very stiff, my thinking was that it would transmit vibrations well, and give the guitar a bright sound and good sustain. It is certainly noticeably brighter and somehow richer sounding than my US Strat, particularly when played clean or unamplified. Spec Materials: 3 piece swamp ash body with carbon fibre top and aluminium binding, maple neck, ebony fretboard with MOP dots, carbon fibre control cavity cover and neck plate Hardware: Gotoh 18:1 locking machine heads, Tusq nut, FW47090 fretwire, Iron Gear Blues Engine & Dirty Torque pickup pair, unbranded bridge, 2 way truss rod, polished stainless steel torx screws for all hardware attachment (except tuners) Electronics: 2 volume, 1 tone with push/pull for single coil tap, 3 position pickup selector Dimensions: scale length: 25.5”, FB radius 9.5”, neck width at nut: 43mm, width at 22nd fret: 56mm, neck thickness at 1st fret: 23mm, thickness at 12th fret: 24mm Demos on YouTube: https://www.youtube.com/channel/UC_SFKIKEZWRMKkwnC7SCKfg A few pictures from the construction (clockwise): homemade spindle sander, drilling fret dots, jig for gluing aluminium binding, routing the truss-rod channel
    6 points
  27. This build was a very satisfying experience. And thank you guys. I made it with your support. Its been lots of fun. Lutherie forever! Name: Nomad Specs: - mahogany neck-thru - ash body - finish- Tru-oil - pau ferro fingerboard radius - 10 - asymmertic profile neck - 7 string multiscale 25,4-26,6 - 24 stainless steel frets jumbo Sintoms - Fishman Fluence Tosin Abasi Set BK - 5 position switch, push-pull pot
    6 points
  28. So progress has been ticking away slowly, but I'm really happy with how it's going. Both the control cavity covers are now shaped. I've left them as a tight fit for now so I could press them into place and sand them flush with the rest of the back of the body without them moving around on me. I also had a feeling I wanted to do an inlay in the body to match the fret board inlay. After much laying out of pieces, procrastination and mulling over, I decided to do it. Very glad I did, I'm really happy with how it looks. I also played around a little with some Tru Oil on the back of the cavity covers, just to see how it looks, and it came out great, the timber looks like honey! Next step from here is to loosen up the fit of the control covers (at the moment I've got to push them out from inside, so I need them a little looser before I glue the top on) then I get to move on to glueing the top on! Realistically, this is probably all I'll get done now until the new year. Being in Australia, we're lucky with our covid response having being very effective and interstate travel being back on the cards for Christmas, so we're looking at heading to see my parents who are desperately hanging out to see their first grandchild for the first time since he was 4 days old!
    6 points
  29. Cthulhu Woods: - Cocobolo neck - Gaboon ebony fret board with Cthulhu inlay in Mother of Pearl - Swamp ash body Scale length: Muli scale 25.5" - 27.5" Hardware: Hipshot tuners and bridge, stainless string retainer / sustain block Electronics: Tosin Abasi signature Fishman Fluence pickup. One mini switch for Fluence voicings, and one for B / B-N / N pickup selection This one has been a long time coming. I've had the idea for this inlay planned for years, and finally built up a reserve of patience to try it. The body design is from a Tosin Abasi prototype built by Vikk guitars. When I saw it I knew it was a perfect vehicle for this inlay. Build thread:
    6 points
  30. Covid19 happened and our class was canceled so this thread wasn't finished the way it was meant to. During the last Saturday before lockdown I got it pretty much finished and let the fellow builders play it through my Blackstar Fly. Let's just say she could sing both metal and jazz and anything in between, even the plunkety plunk I'm capable of producing. While she was hanging on the wall waiting for the finalest of the final touches I cooked a batch of wax from carnauba flakes and beeswax candles and pine turpentine. I spread the wax all over when it was still hot and running and buffed her nice and shiny.
    6 points
  31. With this one I wanted to challenge myself properly. This is my fourth full build, built at the community college workshop during wintertime Saturdays. She's a semi hollow LP-profile neck-through as I titled the thread but let's just call her Ovie... So: Top: Flamed Ovangkol from Madinter, Spain Body: Torrefied Estonian Alder from the sauna department of the local hardware store Accent laminates: 0.55 mm flamed Birch a fellow builder got from a bankrupted flooring factory Neck: Maple with Cherry and Nogal stripes from the outlet of another flooring materials factory Fretboard Merbau from the same flooring factory Hardware from AliExpress, Banggood and Ebay Pickups: Humbucker sized P90's (Ali) Finish: Crimson Guitar Finishing Oil Final finish: Self cooked wax mixture of Carnauba, Beeswax and Pine Turpentine Weight 3,36 kg/7.4 lbs As you can see, the body has been shaped using a Les Paul template and the headstock owes a bit to PRS. The rest has just been improvised. Designing the F-holes: Just short of putting it all together: The pickups were a bit tricky to install, especially the springs: Fast forward to today: The devil is in the details: The jack is recessed - and that's wax I didn't notice when shooting these pictures! I tend to leave the upper neck too wide so I widened the nut with offcuts of the fingerboard. The truss rod cover is also from an offcut. The back: And how does she sound? Well... When I play she's yelling and screaming but a fellow builder got some very pleasing music out of her. Just as expected...
    6 points
  32. Do you remember this one?? If you recall. Tom had ordered some bridge parts and tuners from Hipshot in the States just before everything cracked off with Covid and everything ground to a halt both sides of the Atlantic... Well. they've arrived And so I've spent the last few days starting to get to the finishing stages of the build. I drew out the string runs to work out how much wiggle room there was on the tuner angles (Tom likes angled tuners): I then drilled the tuner bush holes and that let me determine the bridge blocks positions: Lots and lots of checking and double checking before drilling the fixing screw positions! Then the 'drill from both sides and meet in the middle' approach to fix the through-body string ferrules Then out with the Dremel and my teeny hand router to sink the bridge blocks flush with the top: And the positioning screws in place in the 2xperpendicular plus 2xslanted (and no, Ernie Ball, you can't trade-mark that - it's mine!) tuners mean that, fitted with a set of old strings for positioning, I can now cut the nut from the bone blank pictured
    6 points
  33. At the begining I was afraid the Fishman flounce are over-rated/advertised They are not. There is some delicacy in the sound of a passive with the active string attack. Dunno how it works but it does. Asked my friend to play a bit for a sound test line 6 spider ii 150+reverb+chorus(?)+delay
    6 points
  34. In recent years I've noticed an upswing in the mentions of a notched straightedge being a necessary tool for fret levelling. I think it's important to note that a notched straightedge is primarily intended to reveal physical abnormalities in the fretboard itself, not the frets. Even the example given on the Stewmac youtube channel about their notched straightedge is showing off its abiity to reveal a neck with a hump around the 3rd fret, the proposed fix being to remove some of the frets altogether and spot-level the fretboard itself before reinstalling new fret wire, rather than re-fret and re-level the whole neck If you're confident the problem on the neck around the 11-18 fret position is due to there being something funny going on with the fretboard being unusually shaped (a bulge, a sag) then yes, the notched straightedge will show this for you. But the fix for that problem is much more involved than just doing a spot level, as Stewmac allude to in their product video. Personally I think a regular, unnotched straightedge should tell you enough about the neck's condition to make an assessment on the fret crowns themselves, which is where the playing actually goes on. The LTD ships from the factory with XJ (extra jumbo?) frets, so unless the frets are seriously worn, have been replaced in the past with lower fretwire or there is something really horrid going on with the neck/fretboard (in which case you're looking at a much more significant repair anyway) there should be more than enough meat left in them to withstand a fret level based on the crowning height of the existing frets determined with a plain straightedge. Don't discount loose frets either. Maybe the frets in question have sprung up slightly out of their slots, in which case a fret level might not help, and in some cases can make things worse. Attempting to level a 'springy' fret with respect to surrounding 'solid' frets can be a bit like chasing your own tail - you level the loose fret by applying pressure and take the top off, but when you stop filing it springs back up again. You check it with a straightedge or rocker and find it's still high, so you take more off and so on and so on. You finally get it 'level' and string up the guitar, but whenever you fret a string on to it it sinks back down again and now you get fret buzz due to it being too low when fretting pressure is applied.
    6 points
  35. I'm like a caveman seeing a motor car for the first time. I don't know whether to worship it or throw spears at it!
    6 points
  36. Retrosonix "Bow-Tie" 25.5 inch scale. warman 5/2 tele bridge pickup. roasted sycamore neck and fingerboard. one piece ash body with roasted sycamore top. I wanted a lightweight guitar with minimal knobs and pickups so i had no excuse to just play.. i based the design on the MM st vincent and was also influenced the hollowbody explorer that Ben at crimson made. i got the wood just before lockdown and made it in my garden that i share with my chickens and ducks. the weather was great, it was a fun build.
    6 points
  37. Hello again! This one, I've been planning to build for nearly ten years. I was always a fan of the Warwick Infinity NT bass, and in a previous life I started building one back in the UK. I think I even started a build thread, back in the day, but I dare not go find it! I moved over to Australia before it was even close to finished, and left the project behind. After I got back into the luthiery saddle last year, I figured I'd grab some timber and give it another go. @Prostheta, it's happening... 34" scale length, 5 strings, 24 frets. Queensland maple and maple neck, walnut wings, flamed maple top, and cocobolo fretboard. MEC pickups and preamp, Warwick 2-piece bridge and hardware. Alrighty, timber shots! Ran the old rusty handsaw and jigsaw, depending on mood, through the Qld and Maple pieces and set them in my router sled setup for a solid thickness. Note to anyone who remembers my last build - I finally got myself a router! Hand plane over all faces, slathered with wood glue, and right into the clamps. Glued the wings on, and laid the template over the top for a look, before grabbing that old jigsaw again for some rough shaping. Scarf joint got done here as well, and headstock ears too. Rough shaped, and I'm starting to get real excited about this thing... See y'all next time! - Jam
    5 points
  38. Today I took it out of the clamps and became a sawdust factory. I must say that routing cavities is my least favorite thing to do on a guitar build. On the other hand it is starting to look like a guitar. SR
    5 points
  39. Bonjour, I'm back. Meet HEPHAESTUS Type: Telecaster Body Materials: Solid Ash (Live Edge), Steel, Bismuth, Epoxy Resin Neck: Maple + Rosewood (pre-fab) SL: 25" Weight: A lot (haven't checked, but it's heavier than a Gretsch Parts: Rejected Korean Factory Bigsby, Wilkinson Roller TuneOMatic Bridge, Wilkinson Locking Machine Heads, CTS 500k Pots, 3-way Switch, Irongear 'Blues Engine' Twin-Humbuckers (series), Treble Bleed Mod (Bridge only) Hephaestus, the Greek God of fire and blacksmithing, was the inspiration and namesake for an idea I had about 6 months ago. I actually started a thread here for the build, but got distracted as I have entered this guitar into the 'Kit Build' of the "Great Guitar Build Off 2021"! (and updating both journals was really hard! The full progress was documented on my new YouTube channel here:
    5 points
  40. Here's my third build "Otava" (Big Dipper in finnish). Had so much trouble with this one, but it was to challenge myself as a builder. Half made in my shop, half in our backyard since it's summer. First times: binding, flame maple top, gloss nitro finish, fretboard inlays, custom pickguard, my own headstock shape, wood control cavity cover, made the nut myself for the first time. All in all, some "handmade" still shows in the details, but the guitar looks good and plays and sounds great. Tone is the clearest so far, probably because of the maple top gives is some "clang". Top was hand dyed with alcohol based dyes, green, blue, purple. Build thread: https://www.projectguitar.com/forums/topic/53946-third-build-hybrid-t-style 25.5" scale, ash body, flame maple top, ebony board, maple neck. Schaller locking tuners, Graphtech Tusq nut, luminlay dot inlays, EMG81, PA2 booster, Gotoh 510UB wraparound bridge.
    5 points
  41. Done some staining with Angelus dyes. First stained it Rose, then sanded back with a mirka pad. If I'd have left it like this my daughter would have been very happy. Then mixed light blue with netrual (diluted) 1 part blue to 2 parts neutral, and added a tiny dash of yellow and went over the top. Not the scratch below the blade switch, annoyed I didn't see that earlier, it's causing me no end of problems. Also note that weird light spot near the seam. Dunno what that is, thought at first it might be glue squeeze out that I didn't get, but there are several other smaller areas that wouldn't take stain so I dunno. I also used so little glue that I could have been accused of starving that joint. Sanded back the natural binding with 120, then finessed up to 320. Very happy with the binding, probably my best work. But I tried to get that scratch down by the blade switch, and removed it but ended up putting a slight ridge/low spot right under the switch. I was sanding only the scratch because that area is so thin that I daren't risk sanding any closer to the bottom screw hole. Restained that area which is noticable, so I'm pretty hacked off about that, I don't think there is much I can do about it though, so just went with it. Maybe I can build the area back up a bit with drop filling, dunno. This is after 5 coats of rattle can sealer, definitely noticing less orange peel than I was getting before. could be the booth, could be technique, I certainly have better light now than I'm used to. The booth did a really good job of extraction too - came back 5 minutes after spraying having left the fan running, all I could smell was what was off-gassing from the work piece
    5 points
  42. Aramat 6sB Finally done! Fully handmade guitar Aramat 6sB from Fruni Guitars. A lot of sweat and tears in this build but outcome is amazing. It took me something around 350-400 hours. Enjoy! Body: American Swamp AshNeck: Canadian MapleFingerboard: RosewoodElectronics: EMG 81/85Bridge: HipshotTuners: Gotoh SMTFrets: 24 - 2.8mm Jumbo extra hard (nickel-silver)Scale: Baritone 26.5"Nut: GraphTechInlays: AbaloneColor: Antique BlackFinish: Hardwax OilCostruction: Bolt-on (5 screws)Weight: 3,05kg
    5 points
  43. So... Today I sanded the control edge of the lower bout again to get rid of the diagonal strokes and then I redyed it. And tried to dye the edges a tad darker. The other woodworkers in that relatively small room must have gotten drunk from the alcohol fumes! I also sanded the center a bit as the alcohol soaked rag spread some dye there when I tried to smoothen the burst. And finally, finally I screwed a hook at the bottom and climbed to the "painting room" - a small space hung up on the wall of a small industrial hall, meant to serve as a locker room, a pause space to eat your lunch box and a small separate office room. Large enough for a three man company but highly inadequate for painting! 2x3x2 metres filled with a couple of benches and a mini kitchen... And someone had left his cabinet doors and drawers there to dry. After asking one of the more regulars I reorganized some space and sprayed the body with a rattle can. Within an hour two guys asked if I had done some lacquering as the fumes had spread downstairs despite the closed door. Oh well... Next time I'll sand the first layer of lacquer, it's meant to be more as a pore filler at this stage. But it shines!
    5 points
  44. I'm banking on everyone having run out of films to watch on Netflix here...but think of this as more a celebration of a great musician playing rather than the rather shameless self-promotion of the builder Matt still has most of my guitars and basses. He says it's because of Covid lockdown but I suspect that MrsAndyjr1515 is probably paying him a pretty sum to keep them over in the next county. Anyway, he's just put this video up. It's just an impromptu study in A, but it's pretty. On it is the Camphor Single Cut bass I built a number of years ago and my own 'Swift Lite' 6 string electric. Nice to have a reminder what it looks like If you like what you hear, do give Matt a 'Like' - I know he would appreciate it
    5 points
  45. Probably ruining @Bizman62 's fantasy ( ) , but this is what I CALL a routing template: It's dampened and so is pretty much the colour it will end up with when finished. The whole of the middle section will, of course, be covered in fretboard, pickups and bridge, but that quilting starting to show even before the finish is on will really pop out, including on the main still-to-be visible parts It has to be said that walnut is one of the most delightful of timbers to work with. Looks good, easy on the tools, smells great
    5 points
  46. Had a bit of a noodle on the old girl. Gives you a rough idea of how those Trisonics are voiced. Sorry I set the cam down by my pedals. The switching is really loud!
    5 points
  47. Put together day. Lots of fiddly bits. Lots of flaws on this one but lots of good. I’ve throw in the towel on chasing the finish. At first I thought it was wet sanding but there are further stress cracks as it cures, also the Cellusolve reaches the dye layer and discolors areas. Someday I may strip it and do it again with a thinner nitro layer but no time soon. My day job has kicked my ass with pandemic stuff, and I just want to play it! Thanks again to @curtisa and @mistermikev on wiring, it fired up first try.
    5 points
  48. Swel AT1 This is my second build. First one was the zebracaster which took me an awful long time to get done, so I’m happy I did this one in ‘just’ a few months. My goal with this build was to create a design of my own in stead of using an existing template. The idea is to use this build as a prototype for future builds of the same model for sales to the public. Also I like to learn with each build so new for me on this build was a scarf joint and a recessed jack output. Also a color finish using spray cans was somewhat new to me Materials: Because this is a prototype I decided to use available woods and hardware as much as possible. I got some basswood from my woodshop ( www.masave.nl ) and I cut a piece of maple into several pieces for necks and fretboards. Background As I don’t have a professional workshop, the build was done mostly in my backyard, using available power tools. For planing/thicknessing I used my friends carpenter’s workshop planer. I don’t have a background in woodworking other than doing renovations in my own home and what I learned building my first guitar. Design The design was based on a couple of guitars I like a lot: · Ibanez guitars like the JS model: sleek designs with round shapes · Mosrite guitars : asymmetrical body · Heins guitars From a playing perspective I personally like small radiused guitars, but I want to make this model ‘allround’ so I gave the fretboard a 10” radius. The scale is 25.5”. Also to create a versatile instrument I’ve added a Schaller superswitch to create 5 different pickup combinations using 2 humbuckers with 2 different single coil modes. I designed an angled neck pickup for a brighter response on the high strings. Specifications: All the specs: Scale length: 25.5” Radius: 10” Body wood: Basswood Neck / Fretboard: Maple Pickups: Neck: Dimarzio Fast Track II, Bridge: Dimarzio AT-1 Electronics: 1 Volume, 1 Tone, 5-position Schaller P-switch, 0.1 uF tone capacitor Hardware: Gotoh Wilkinson VS400 trem, Gotoh tuners Nut: Graphteq Frets: 22 Slim Jumbo (6105 style) frets Position markers: 3mm abalone dots Decal: Swel is my guitar make name, which translates to a Swallow in English. Hence the bird/swallow decal. Video: I've made a short video showing the guitar and playing some things to let you hear the different styles and switch positions. Pictures: A blue chord needs a blue guitar! Rounded shapes, Gotoh Wilkinson floating trem. Had to route the neck pocket in a 1.5 degree angle to allow for proper floating setup. Headstock with Swel logo decal. Custom white trussrod cover. Graphteq nut. First attempt at a scarf joint and vollute. Gotoh Tuners. Maple neck. Shaped for comfort. Action setup comfortably low but allowing fierce playing. The back: recessed cavity cover for the electronics. The Trem cover is mounted on top of the back.. Shaped the neckpocket join for better accessibility to the high frets. flat curve for stable seated playing. 1V1T with chrome knobs and the Schaller P-switch. Body mounted pickups, 22 frets.
    5 points
×
×
  • Create New...