rhoads56

I was the austhorised warranty repairer for Gibson for a period of six weeks. In that time I did 47 guitars, and billed them $2800. I figured I'd see a couple guitars a week, max. They sent so many guitars to me, I asked them to stop. About half the issues were simple electronic problems in Epiphones (jacks and the bridge tone controls earthing on the semi shielded cavity) worth $10-20 to fix up. The other half were USA built, and major issues... nuts cut so low that the strings fretted at the first constantly (two were $10,000+ customshop specials), horrendous 'plek'd' fretwork, a couple bridges located in the wrong spot, fretboards lifting, binding paint cracks, etc etc. There were also about 8-10 guitars which were rejected under warranty (one was a strap button thread stripped out, causing the guitar to fall and snap the neck).

As a comparison, I also (at the time) was doing all warrantys for ESP/LTD, Taylor, Martin, Maton, PRS, Warwick, Ernie Ball, Dean, Peavey, Ibanez, Roman, Schecter, Yamaha, and a bunch of others (pretty much everything except Fender). All those brands combined, amounted to 2-3 jobs a week. To compare Gibson to PRS... Ive been doing PRS since signing up in 2005. In the 7 years since then, Ive had ONE phone call for a warranty claim, and the guy never actually showed up.

EVERY USA Gibson that comes into the shop now for a setup, I recommend a fret level straight up. If it wasn't for Gibson, my income would be a fair bit lower than it is. I hope they don't change a thing! But, if they did, I might get more work done...

You are retuning the open string after moving the saddle, right??

Open tune.

check octave.

move saddle.

retune open.

repeat.

B is the most pleasing to look at. However, I feel the headstock shape needs some tweeking.

It looks like I might actually be able to start the build that's been rattling around in my head for years. Anyway, one of those Gotoh Side-Adjust truss rods that are on Warmoth (and some other luthier's) necks would simplify my design. Warmoth doesn't sell them and I can't find an online retailer that does. I'm suspecting these are OEM-only. Anybody know where to source these?

Ray

If I recall, these are a Japan only item for retail sales. So, a japanese online store needs to be found. Im pretty sure I got mine of eBay, from a builder that was cleaning out his workshop, but it was in 2005/6, so the memory is fuzzy. Ive used them about 10 times now, and found they didnt work as easily as a normal dual action rod. They work. They are good. But just not as easy to dial in. Certainly harder to install.

Hi all,

Today I installed a pair of humbuckers in a LTD MH superstrat, according to this diagram from Dimarzio. The diagram doesn't mention a ground wire from pot to bridge, but I've installed it anyway, as an attempt to solve the problem described below (didn't help much). One other thing is different: I did not connect a tone pot (hate 'em).

So, the problem is this: pickups do function and give a nice output. However, compared to any other humbucker guitar I have (including some quite overwound ones) both pickups are way to noisy. Touching anything connected to ground (strings, volume pot) makes the noise disappear. So far, it sound like a normal grounding issue. I didn't cut the wire bundle to size, so it's quite a lot of wire cramped into the control cavity. I've (double) checked the ground connections.

Strange things I notice: touching the plastic of the wire from pot to jack (with my finger in the control cavity) increases the noise. Also (and this really confuses me) touching the tone pot increases the noise greatly. This seems strange to me since the tonepot is just there for cosmetic purposes: it's NOT connected to anything in the circuit!

Suggestions, anything I might be overlooking? Considering just desoldering everything and start over, with shorter wires...but I hope someone can save me the time by making a smart remark Much appreciated.

Jack sounds like it is wired the wrong way around.

Ok that helps. Though I would be interested in something with a larger inlay, but pretty cool none the less. My guess is that was a pretty flat radius? Also,How did you scribe the shape onto the Fingerboard with the radius? Was it done by rolling the inlay on the Fingerboardand tracing it?

yes. note the paint.

Disregard the radius. It doesnt really matter if the bottom of the cavity is radiused for inlay work that is small. Block inlays, just run off the centreline, and dont tilt it to follow the radius (as best you can). Ive never used the method with two pieces of wood either side, that to me is just too difficult.

Use epoxy to glue in the inlay, and any radius to the bottom of the cavity will be filled. Tint the exopy to suit.

This is the best I can do for you right now, it's a preradiused board, as are most of my inlay jobs:

Wes, use a 3/64 or larger to remove the bulk. Get close to the line. Switch to 1/32, and cut in a clockwise direction for internal routing (run the opposite way to normal, so the bit tries to "run"). You'll notice the cutter doesn't "bite" but rather it runs alone the edges, removing very little each time. This I find is much much easier to control. Rout the full depth of the inlay piece in one go. Use just under half speed, it will break less bits.

Always cut the pearl perdendicular. If you have multiple pieces joining each other, then fine tune their joints with a file, angling if need be. It would have to be a wide inlay to bother with that though.

<!--quoteo(post=480663:date=Dec 24 2010, 05:07 PM:name=Tim37)--><div class='quotetop'>QUOTE (Tim37 @ Dec 24 2010, 05:07 PM) <a href="index.php?act=findpost&pid=480663"><{POST_SNAPBACK}></a></div><div class='quotemain'><!--quotec-->Clamps are like screw drivers and pliars. As soon as you think you have enough to cover every situation. You find out you need another one.<!--QuoteEnd--></div><!--QuoteEEnd-->

Actually I see where it didn't press flat against the backing board in some areas. I don't think it will be a problem as these areas were likely to be scrap anyway, I'm going to be gluing something else up tomorrow, I think I will use some long boards across the top and back this next time.

Add a veneer, or about ten bits of masking tape to the center of that length of wood, and it will add more pressure to the center with only a clamp at each end.

About three years ago I had my eye on a big chunk of Brazilian Mahogany but it was $940 so I said I’ll come back later. I left it too long though and some guy in a yellow Monaro came along and bought up everything over 2 inches thick. So about a year ago I bought a body blank from some place in New Jersey. It was like $120USD but after the exchange rate and all the bank charges I reckon it cost about $400. That big chunk doesn’t seem so expensive now!

Yellow Monaro huh

$900 odd bucks wasn't expensive at all, considering it was banned from importation under the CITES agreement at the time! That piece you saw was 80mm, and wide enough to rip two lengths of neck material off the sides, leaving enough for a single piece 350mm wide body. :DB)

That same week, I found a 4 metre length at another supplier, that is wide enough for one piece Explorer and flying V bodies. I think it's 480mm wide?

You can't muck around when "real" Brazilian Mahogany is at stake... hence why I need the horsepower to get me to these sales ultra fast

Good to see someone out there experimenting! And from Perth too!

Did you base the measurements off StewMac's trem template? If so, you've measured the template from the wrong side.

The center line is correct for the strat, but if you reverse it for the two point trem style (and put it wrong face up), the center is off.

See:

http://www.stewmac.com/shop/Tools/Special_...ictures#details

My measurements are based on a picture i saw in an article some weeks ago, i didnt had my tremolo then, but now i have and i have changed it to the right measurements in the drawing now. If i understood you correct the tremolo placement should be like this. On the front the tremolo routing is centered.

Thanks for your help!

No, it should be offset, not central. It is offset to allow for the trem arm.

I would be extremely surprised if I even had a 1/4 of the finishing supplies you have Drak!

Did you base the measurements off StewMac's trem template? If so, you've measured the template from the wrong side.

The center line is correct for the strat, but if you reverse it for the two point trem style (and put it wrong face up), the center is off.

See:

http://www.stewmac.com/shop/Tools/Special_...ictures#details

Love your Tele's Drak!

But, where are the trumpets? I want more trumpets!!

Well Perry you have asked for feedback... First class build quality , love the drop top and neck / headstock,fretboard. I think the neck join looks a bit sus for strength. Don`t like the colour at all ,It looks too pretty .The cavity covers look a mess. Black plastic (god forbid ,would look better) Sometimes customers should be limited in what they ask for, its your name on the headstock and thats what people are going to remember. Anyway I bet it plays great and as long as thats the case all is well with the world. keep em coming.

Thanks. There is more surface area in this joint, than a Les Paul, so Im sure it will be fine. Thats my benchmark.

Im not into triple figures yet In fact, im a while away...

make sure you post up the results!!

Perry,

This is simply outstanding work. I'm completely speechless. Could you shed some light as to how you got the maple top to form to the mahogany body? Did you bend it with steam? It's driving me nuts trying to figure it out! Once again the guitar is astounding.

Thanks,

Frank

You've seen kerfed linings in an acoustic? Imagine that, under the top. Only in the area needed, and dont slot within 5mm of the edge (to avoid having to use binding). No steam required. Use a dremel to slot.

Great work love it. did you ever post the build of the guitar thats going to be amazing like crazy? spending that guys child inheritance? haha, oh i Love how you made your headstock. Its like a cut out of PRS' Headstock. and i love PRS' headstock haha

Not yet, cause we are two years away from that one. Damn waiting lists!!

I have started it though... inlay design laid out, materials selected, but thats it.

haha, i hear you about the tatts, same here.

For the record, Im buying a CNC this year, to ramp things up a bit (to start selling through shops finally). To counteract that, Im also starting a new series that will be ultra limited, totally handmade (as usual for me really), mega artsy, and high dollar. Maybe its a bit of yin and yang... go more arty and pricey, but also more "easily accessable" with some more standard stuff that is more affordable.

Quoted from Perry:

"Most of the time the most popular guitars Ive built are the ones where I have no client "holding me back"...

I came into this guitar building thing with a background of being an Artist for most of my life. And like my art, my guitars are very personal. Its because of this I don't see myself doing a commission. When the customer likes a combination of elements that I disagree with, I cant see putting my all into it. I do that in my 9-5 job solely for the paycheck it brings home.

That being said, I plan to build what I think looks good to hang in the home shop, If a friend stops by and likes what he sees then thats cool. A commission to me would take all the fun out of it and put pressure on me that I don't need.

PRESSURE = NO FUN

Well, I do my best work under pressure. That impossible deadline. The parts wont arrive until a day before the big gig. The pesky client that is extremely picky.

As for artistic satisfaction. Absolutely. I knock back at least a 1/3 of the commissions I get asked to do. I could sell a Polka Dot V every week. No doubt about it. Havent accepted an order for one for years. You'll notice Ive never done the same guitar twice (well, PDV excluded).

Not a single guitar goes out the door with any less than the majority of it my ideas, or input. Even if that means I have to throw a few freebies at the customer because they cant afford it. But Im not going to knock back a guitar order because I personally think the colour is a shade too dark.

There is certainly something to be said for being more open to repeating the same work, ramping up production, having less (or none) direct end user interaction, streamlining by way of easing the manufacturing process.... and sitting back counting the money on the third floor balcony of your river front mansion. I was very sceptical about retailing the pickups we do, and held off for a long time. I liked the idea that they would be real hard to get. Limited supply. In the end, we HAD to start selling them. Do I worry any more that I never got to meet one of the guys who purchased the 50 pickups we made last month? Nope. Does it feel nice to know we got a job done with zero client interaction, sales pitch, answering the same question a hundred times to thirty people, or any other crap like that? Yup. Does it feel even better to know those 50 pickups

Ive achieved way more than I thought I would, and Im only a short way into a long career. What next? Stability. I want to settle down and create a family. I want that house of the riverfront. Success, providing for my future, and leaving behind a legacy behind when Im gone is just as important to me as being artistic.

When its all said and done, i'd rather do what I do, than anything else in the world. Who wants to work an office job?

My current build is over double that price, but I am making very little money on it. I have $1000 into the electronics alone, and about $800 into the inlays, so my profit margin is very slim. But I am willing to do this build at such a low price because it is going to be an eye catcher and the type of work that I can really promote myself with. Some things go farther than money, and good publicity is one of them.

Thanks! Go for it mate. The guitars that people STILL talk about are the WOMD, Shark, and the white Mulitscale. You just have to have a guitar that speaks to people, and they will remember your name for a long time. Im lucky that Ive had a few guitars that people seem to be "fanatical" about, or at least very very fond of. I try and push every client's order in that direction, but it's hard. Most of the time the most popular guitars Ive built are the ones where I have no client "holding me back"...

But, it's going to be sooo much harder these days to achieve that. What with cnc inlays etc, the art of a handmade guitar is being lost. When I say that, I mean its much easier to design and execute an impressive "wow" type guitar on a computer, than it is to spend the man hours making it by hand. With ease comes more quantity. Wow factor is lost when you are competing against hundreds of other makers who can now build because of an automatic tool.

OP: Sensitive? If people are selling their guitars, professionally, they'd probably have their prices listed up on the web I think the sensitive thing would be how much a GOTM style guitar costs to MAKE and how many hours go into it. I surprised myself recently on the total tally of hours to get 8 guitars built and ready for paint.

Mine start at $2390 (Aussie, so its currently around $2100 USD) which will get you a bare bones, no frills, solid body electric guitar. Think stratish, teleish, kinda vibe. Nothing special, no carved tops, no fancy woods, no inlays. Options bump the price up from there, and most people are spending $3600-4400 Aussie. Got a few coming up that are in the $5000+ range, and one in progress which will be around $6300-6500. But, in comparison, a Les Paul Std is $4000ish Aussie over here. But, I dont think anyone buys those... Gear is more expensive generally.

For relevance, I started out in 2003, and went into business "full time" in '04. Took a year or so to start breaking even, and then four more years to start making money. I re-invested everything I earnt to keep building up the business. Now I have a 200m2 (2000 square feet) factory, and two part time employees that help me out with pickup manufacturing, and repair work. Life's good. There is the ability to make a living from this, but it takes more than just an ability to build a guitar. Networking, paperwork, financing, cashflow, etc etc etc

Ive played one WS, and the bending/vibrato issue is negligable, if noticable at all.

They are definately still in business. ALWAYS out of stock of the trems you need, and real hard to get a reply from, but they are still in business...