rhoads56

There is a local guy who jumped in too fast. Too confident, not enough skill. Took in jobs, stuffed them up, had to get others to fix them. That's killed his reputation, as one of these clients found out, and speaks to a LOT of other guitarists. For YEARS, any time someone mentions his name, that story will be told. It wont be long before people find out he now buys premade bodies and necks, chucks his logos on, and calls them 'master luthier customs'.... someone is going to take a neck off one day and see a big fat warmoth stamp... and it will hit them that they've paid $1200 more than those parts are worth. Same with putting out work whilst you're 'learning'. Those jobs come back to haunt you, years later. Discounting NOW, to make up for slight issues with an instrument, will all be forgotten about years down the line, when you CAN do good work, but those old crappy jobs are floating around. You have to have a reputation in this business. That reputation is generally hard won. It's really really easy to damage it. There IS money to be made. It can be a wonderful lifestyle. I'm going to break through to a six figure profit this year, without employees, and doing less hours that before. But it doesn't come easy, and those success stories are few and far between. Last year was my best year yet, and this year will be better, but that's due to ten years of constant quality work and constantly trying to innovate new ideas, methods, and skills. Not to mention a bit of luck too, Im sure. Plus, I already had a previous woodworking trade behind me, with honors and awards for excellence. Coming in fresh, and learning those skills, whilst learning guitar making as well, makes it very very difficult. Not to mention, you have to get your name out there... and that can only be done by putting out work, selling that work, having people talk about that work, etc. You cant sell as easily without a reputation, and you have to sell to get the rep... It's a vicious circle. It's not all about quality of work, but marketting also. Running a business. Cashflow. Advertising... where, when, how, to whom? Price points? Niches? Chucking one advert in Guitar Player wont get you work. How do people find out about you? Who are those people? etc etc If you saw someone post this on a forum, what would you think: "I love my iPhone, so Im going to start making cell phones..." Crazy, right?

I have a 2.5 year waiting list, and average price of $4500. The guitars I put into stores on consignment (ready to go, no wait times), simply dont sell.

Ive played a bunch of Flaxwoods, They are great.

He is just a custom gutar builder.

You got off lightly. In the past we've had meet ups where we actually burn members at the stake.

Ok, so how much time will you spend cleaning out the sanding dust when it all gets trapped in there? How much effort will you spend trying to sand something with half inch strokes? And if all that effort is all good, then why not just do it the 'original' way?

huh?? How does this sanding jig allow for the increasing width of the neck shaft? Or, different neck shapes? If you want speed and accuracy, get a custom routing box, duplicarver, or cnc. Spokeshave and rasps should be all you need to whip up a neck shaft on maple, in 30 minutes max.

It works, but all the 'earth' circuit becomes a big antena for noise. However, I doubt that's the cause of this other squeel. Unless the pickup needs repotting?!?! Grab a set of alligator clip leads, and start at the pickup. Connect the leads to the guitar lead into the amp. Slowly reclip the leads following the signal path and you'll find where the problem originates from. Use a common earth (eg: jack)

if touching the earth adds hum, then Id start at the jack, possibly wired back to front.

I use wattyl. Much cheaper.

He's loving what he has mate, no converting him The bloodwood top is perfect, not a scratch. The side where his forearm is, has worn through to the wood. Easy fix! Shaun has always been nice, friendly, and has used my pickups and promoted them in the past. All the guys in the band are great. They are main supports for all three Psycroptic shows here this weekend. I really like their new shirt design too!

+1 Truth! I am glad Perry said it because when I say it no one listens. Guess what. Our guitars shared a stage last night. Sensory Amusia and Psycroptic. Got to spend a little bit of time with one of your guitars. Nice work. I offered to re-oil a part of the side where Shaun has literaly worn it out from playing too much. He loves it Shaun's a nice guy.

But it's the nuances of tone, not an 'over riding effect' of different woods, that you are looking for. It took me a few years to really appreciate that. A guitar is the sum of its parts x quality of built x construction details. Woods definately do effect the tone.

So say that. Advise your client. And if you want to take the risk some 'prefers' the MDF sound, and therefore judge your 'tonewood' guitar against that, then go ahead It would only take one guy, to repost your findings, and send it viral. If you want to build only high gain monsters, then you may as well build from MDF. I build guitars to have clarity, cut through a mix, and have great tone. I'm not having a go, but high gain pickups just don't do it for me (or my clients once they see the 'benefits'). I'm working with some pretty extreme bands (the one above is for Psycroptic), and I virtually never use high gain pickups. You don't need them with the amps available today. My 'go to' metal pickup is 9.3k. I'm just on the cusp of signing a huge band based on low(er) output pickups. You can't take gain OUT of a high output pickup easily, and you can't replace lost treble without processing. But, we're getting off track now... http://www.youtube.com/watch?v=CL4cNthbad0

First of all, the more output from the pickup, the less difference you'll notice. Secondly, this will become a permanent record that you have discovered it still sounds 'like a guitar', and some people (those who strive to own the absolute best) will view it as 'he's willing to compromise on the quality, because it "doesn't matter, to him"'. Trust me, people remember, the internet never forgets, and clients do research you Regardless of IF any processed wood based products (MDF, Ply, etc) sound the same, or not, I'll still use natural, beautiful, stunning timbers that inspire feelings, catch someone's eye, and become conversational points. OR For the record, back in my first year of business, I did all these experiments. I tried recording the differences in materials, with/without lacquer. What type of lacquer. Does two coats more sound different? Nut materials, headstock angles, sizes and thickness. What effect does it have between bolt-on, set and through pieces. Cut a heap of tonewoods (and junk 'woods') in to the same dimensions and ran a sound source through them to record and analyse it all. The only MDF you'll see in my shop is for shelving.

A dream job is still a job though! But, I couldn't think of anything else I'd rather do. If you listen to most luthiers, who mostly subscribe to the 'you'll live a life of mediocre wages', you'll never get anywhere. I recently spent some time with a business mentor (who has worked with Richard Branson, amongst others), who thinks my current pricing is under half what it should be. THAT would be nice

I like to believe I have no competition. In reality, for repairwork, I have lots. But, Ive gone from repairing 20-35 guitars a week, down to around 8, because I want to pick and choose my work. If you dont really WANT the work, you dont need to worry about who else does want it... Out of those 8 guitars a week, roughly 5-6 would be repeat, loyal customers, Ive worked with before. They know my standards, know my way of working, and want the job perfect first time, every time. Very soon I'm only going to do repair work for customers Ive worked with previously, eg: no new clients. As for guitar making, I think most people order an instrument based on previous work Ive done, rather than price. "You choose a builder, not a price". I can't remember the last time I got asked to compete against someone else to win a job. And if I was, I'd politely decline to participate. I'll offer a discount or upgrade to a lot of people (nearly every guitar gets upgraded somehow during the build), but I'd never give one if I was asked for it. That's just cheating yourself, and setting a standard. When I have done that, it's come back and bit me on the arse... the client then asks EVERY TIME and almost expects they can barter for your services. Hell, my order books have been totally closed for all but 5 months out of the last 18, because I can easily sell more than I can build. That takes a LOT of strain off worrying if you are pricing too high for something or not (and I think my prices for guitars, are under priced). Im sure certain people take that as arrogance. Declining to take on discounted work, or work that doesn't really inspire you, isn't arrogance. It's about job satisfaction for me. There are guys in my area (population 2 million people) that charge considerably more than me for refret work, or setups. But a lot more charge a lot less. Once again, it comes down to reputation, and quality of previous work. I honestly decline more work, than I lose due to pricing being too high. But, like I said, repeat quality work, reputation and a previous body of work (and customers who value you, referring you on to others), sets pricing (plus overheads, workload, speed/ability, demand, etc).

Block inlays $300 including patching the 12th fret position dots so they aren't shown. Real abalone, custom cut, matching the grain of each piece. Refret $480 (set neck and binding) I'd probably also add a bit more for being an Ovation. I hate working on those things. I wouldn't do it without a refret. I'd be allowing a full day, but should only take about 5-6 hours max. But, pricing is all based on reputation, costs, ability, etc. I'd be quoting 4-8 weeks so I could fit it in when Im in the 'inlay zone'. I only really like doing this sort of work on my terms. I believe I have more skills than a plumber, electrician, etc, AND have to have more unique tools (plus a workspace, not just a shitty old van), so why not charge their rates? Does it matter if a join in a pipe looks messy? Or a wire is cut a bit too long? Nope. Does an inlay and fretwork need to be perfect? Yes. If you spend any time reading the mimf.com forum, everyone complains about luthery being a business where we only make enough to 'just survive'. Rubbish. Do good work, earn a killer reputation, and you should be able to set whatever prices you can... and have more work lining up than you can handle. Same as ANY other industry/career really.

if it is a broken wire, there will be infinate resistance. That isnt the case here.

That quantity of winds, equalling that resistance, makes it 37-38AWG wire. Most likely 38, unless you wound it real tight, then 37AWG.

YOU ONLY NEED FLATTENING AGENT IN THE FINAL COAT. I wouldnt EVER put it in the colour coat. It's not a problem if you do, but it's just wasting it really. If it is premixed, don't worry, it will be fine. Colour will probably not be effected, as its a solid colour anyway. If it was a candy style tinted clear, then it would effect the clarity if premixed as satin. The more clear coats with the flattening agent there are (premixed or otherwise), the less clarity you will see THROUGH the finish. Nitro clear has an amber tint to it, when you view it in the paint can. Satin premixed (flattening agent) nitro is still amber, but you cant see through it... in fact your lucky to see an inch into the liquid...

Still wrong Wes Flattening agent certainly leaves a finish with less gloss (semi-gloss), very little gloss (satin), or zero gloss (matt). Adding more definately starts limiting clarity (eg: it starts getting milky). BUT, you only need the final coat to be satin/matt, so its not an issue. If you did every coat with flattening agent (you wouldn't though), it would not have the clarity that the same clear does, without the flattening agent added. BUT, despite the flattening agent being even through out the coat, it can definately be buffed to near 100% gloss. NOTE, Ive said gloss, not clarity. If you read the text you quoted, you'll see it says that also EG: last pic "you can make satin and flat (matt) finishes appear SHINY (gloss) when viewed in reflective light" Gloss is the level of shine. A black paint job is still gloss, even when you can't see through it (clarity). Adding flattening base over the black (mixed in clear) dulls the black to a very very very dark grey (basically black) with a non GLOSS reflection (eg: satin or flat/matt). Look at any modern Fender neck. Starts off satin, ends up gloss from wear. The flattening agent is still there, it's just been buffed by usage (or a buffer!). For all intents and purposes, disregard the clarity aspect. It really isnt an issue. Flattening agent is somewhat universal (I havent found a product it DOESNT work with), eg: nitro, two pack, acrylic, enamel... all use the same stuff. Or at least, the stuff I use is universal... It is very inconsistant though. Humidty, faster hardners or faster thinners/reducers, temperature, level of thinners/reducer, and coat thickness (somewhat) all effect the ratio you need to add. There is no hard and fast rule, you simply need to spray a sample on another piece of work 30-60 minutes prior to spraying your 'real' coats.

Wes, heads up... you are wrong The matting agent makes it satin/matt on the surface, but you can buff a satin finish to a near 100% gloss. Ive done it. Your arm will do it over time on the forearm carve. Maybe we'll do the V in satin so you can see!

Well, I just got told that the way I sand my guitars and then lacquer, is the equivalent of polishing turds, so, take my advice with caution

Two part paints wont stick to single part paints (except in a 'clear over base' system where each product compliments the others, which is not the case here). Single part paints will often work well over two part paints. EG: nitro base (single part paint), use nitro top coats. Two pack urethane base, can have nitro top coat nitro base cant have two pack top coats. Reasons? Single part paints dont fully cure for extended periods of time, and 'gas out' (even if they are dry to the touch). They dry via evaporation of solvents (thinners/reducer). Two part paints cure via a chemical reaction (part A and B mixed together). The two part paint will be cured while the single part paint is still 'gassing out', ultimately forcing the bond to fail... there is no place for the 'gas' to go. Doing a test piece might very well work fine, for now. Over the long term it will fail though.