gosh

I didn't attach the earth wire from the bridge to the pot. :-)

problem solved. Delete this if you wish.

I've built and completed my Les Paul Replica. After having wired it up several times (i'm not good at wiring) until I finally got sound out of it, there is now a terrible hum from it. I have checked and re-checked the diagrams and can't for the life of me figure out what the problem could be. The sound is like a fairly loud and constant buzz/hum that stops completely if I touch either of the two pickups. almost as if I'm earthing it with by body. But I don't know how to cure it. It still plays and sounds great and all the controls seem to be working fine. but this humming is driving me nuts. Any suggestions please?

Those are both Limited Editions. You said you wanted to convert YOURS in to a copy of one of the specials in the picture. That is fitted with Kluson tuners.

Apart from the Blue SG (far right), the others are all fitted with 'Kluson Deluxe' tuners as would be correct for type. They have a 14:1 gear ratio, should be tulip shaped, single ring, buttons, They read "Kluson Deluxe" in a single row on the back. These tuners require an 11/32" peg head hole. Only the custom, a limited number of specials (discontinued in 1971) and some juniors were ever fitted with Grovers.

EXACTLY what I was thinking. The shape lends itself beautifully to a 'rock' style, v shaped guitar (flying v?). What about even making the body from different woods cut to your design so the WV goes straight through. you know, like those guitars with a different wood going in a line through the body. Even the headstock could be made using the same design. Can't get over how nice those pearl inlays look. Excellent mate. Thanks for sharing.

I meant the excess. Sorry for not making it clear. Correction: After re-reading my original post, it DID say "wipe off excess". Meaning all the crap that goes in to the drill holes and such. All of THAT should be wiped off instantly. Here is a picture of a lady at the Gibson USA Plant carrying out this EXACT procedure of "Wiping off the excess" grain filler: http://www.gibson.com/products/gibson/plant_tour/pt37.html It is absolutely common practice. I just yesterday bought a new can of Rustins Grain Filler in "Natural" and it says on the tin: Quote: "This product may be reduced with White Spirit. Apply across the grain by pressing hard with a soft cloth and wipe off any excess before leaving to set for 24 hours. I have absolutely no clue why Drak seems to think that is wrong or why he needed to put a silly, smart mouth comment. Try reading properly Mr. VIP Drak before going for the brownie points.

Those pearly inlays look superb. Tell you what mate, if you took that wooden one and lay it on it's side to cover the whole of the body of a guitar and extend the point of the 'V' out and up the neck, that would make an awesome design for a guitar. Kinda like this if you get my drift:

Did you apply it straight out the tin? Grain filler should be 'let down'. Either with water as in your case, or white spirit for spirit based products. Rub hard accross the grain and wipe excess of instatly before leaving to harden. If you have used it 'as is' that is why it's gone clumpy.

Nope, my name is Emmanuel and i would really love to know when Mr Kubicki designed this unique bass. Is this headstock Kubicki's original design? Emmanuel Philip Kubicki made his first guitar in 1958. Aged 15. The design for the factor range was developed and copyrighted in 1983. C - Philip Kubicki Technology (PKT). He's had a trademark and licensing deal with Fender Musical Instruments Corporation for the concept and distribution of the Factor Bass Effective from 1985. That deal was dissolved by Kubicki himself in 1992 and is now owned solely by Philip Kubicki. So to answer your question, YES, he owns copyright for the original headstock design. Thank you very much! I like this design very much (especially the headstock) and i wanted to learn more about Philip Kubicki and his work. If there are some other usefull links, please let me know. If one wants to build an electric bass or guitar with that shape (including headstock) does one need any permisson from Mr Kubicki? I am 19 years old and i would like to build my own electric bass and guitar. BTW this web site is excellent! So much useful information I found! Emmanuel If you build a guitar with that design then you run the risk of infringing his copyright and intellectual ownership. For further links about him, just google his name or buy a good book about guitars. There are some with his work included.

Nope, my name is Emmanuel and i would really love to know when Mr Kubicki designed this unique bass. Is this headstock Kubicki's original design? Emmanuel Philip Kubicki made his first guitar in 1958. Aged 15. The design for the factor range was developed and copyrighted in 1983. C - Philip Kubicki Technology (PKT). He's had a trademark and licensing deal with Fender Musical Instruments Corporation for the concept and distribution of the Factor Bass Effective from 1985. That deal was dissolved by Kubicki himself in 1992 and is now owned solely by Philip Kubicki. So to answer your question, YES, he owns copyright for the original headstock design.

best i can find

Since this is one of the most important steps in building a guitar, it makes sense to take your time here. First, I wouldn't drill anything until you have all of the parts in hand. Stewmac's calculator is really nice and all, but it only works if you're using exactly the same bridge as they're calculating for. You have to drill your holes according to what you actually have. In my case, I used a vintage scale fretboard and a non-compensated wraparound bridge. I set the bridge so that the ridge for the High E was exactly at the intonation point, with a couple of millimeters of forward action, just in case. Importantly, I used a pair of laser guides to position the bridge relative to the nut --that is, the outer slots for the E strings. The result is a guitar that is surprisingly intonated (given the lack of possibility for compensation other than the forward/backward motion of the two sides of the bridge). A wraparound tailpiece is usually set straight. A TOM-style bridge section is normally set at an angle, with the bass side set backward. spot on.

mid 90's? Try mid 80's. http://www.route66guitars.com/kubicki.html

Why not use the stew mac routing attachment for a dremmel and run the roller along the fingerboard? The cut can be altered to make a shallower channel and then all you have to do is make several passes whilst letting out the roller to make the channel deep enough. Although looking at your pic it might not work when you get to the body as this may prevent the attachment riding properly. Would it be too much to take the fingerboard off?

The neck angle on a LP is 4.5 degrees from the flat plane of the body max height. The neck, therefor creates a plane along the fretboard to the bridge. The bridge is adjustable only to allow for changes such as for minor deviations in the body shape to create the arch top or personal playing height preferences. So, if your neck angle is right, you should be able to lay a straight edge from the nut, all the way along your frets and continuing to the bridge. At the point of where the bridge should be, the gap between body and straight edge is the minimum bridge height and any higher from there will eventually give correct playing action height. Clear?

Thanksmate. I will. Appreciated.

Been looking in to the finish on my 59 LP replica and getting myself more and more confused. What to buy, where to buy it. Is stuff compatible. Is there anybody here with experience of finishing a guitar from the UK? I think I need to talk this over with someone who has done it before and I'd like to pick your brains regarding suppliers and getting the colours i need etc. I would like to use the Rusting plastic coating as a final gloss but what goes underneath is puzzling me and i can't find proper answers anywhere. If any UK person here can help, I'll drop my email address via the PM and send you my telephone number or get yours and pay for calls etc. Thanks if you can help. Paul

I spoke with the people at Rustins and they tell me all their products are compatible. Do you think mixing a dye with a weakened solution of the lacquer to create the aged, yellowed top and faded red burst finish would work before using the lacquer neat for the final top coats? Here was my plan after grain filler: 1. apply a thin lacquer coat overall 2. apply a thinned lacquer, yellow coat to the top 3. apply a thinned laquer red burst 4 apply the top laquer overall 5. buff and finish Sound OK? Here's where I got my idea from: http://www.setchellguitars.co.uk/ant/blog/?page_id=23

LOL. But I appreciate the input. I was hoping to get replies from guys who have built lots of guitars as opposed to this, my first in the hope that picking all of your collective brains would give me an average. I'm sure you all have differing techniques and that one or the other is fine, but in my heart I want to do this properly and ALL advice is appreciated.

OK. I drill before painting. Thanks mate. 1. I'm using a professional air compressor and spray gun. I have the gun, i'm borrowing the compressor. 2. Whatever is standard or you think is good for my replica. I want the finish to look like an aged LP without the crackling obviously but I'd like a very high gloss finish. Only thing I have found so far is a product by RUSTINS.CO.UK, which is like a 2 pack high gloss laquer. What I'd like really is a set of products that will allow me to prep the thing, paint the burst, let down or mix the paints to get the colours right and thin the laquer and ALL be compatible together if possible. I fear putting one thing on top of another and getting a reaction that will mean sanding back and starting over. Thanks for the link to the suppliers. I'll check that and call a few of them. I really have no experience in this area at all. Thanks for your help

WOW! That's a piece of work. Nice job mate. You got skills.

Hi guys. On my LP project, I am getting closer to having the body shaped. http://59gibsonlespaul.blogspot.com/ My question is: Do I drill holes for knobs, bridge etc before or after painting and clear coats? I guess either would work if the drill bits are sharp enough to do it after or I drill them first and mask the holes but I'd like your advice on what YOU do to get the sequence right. Also, I have to start thinking about the finish and although Stew Mac have all the right stuff to make a 59 LP replica, they don't ship overseas. So my second question is: Where can i purchase grain filler, colour paint for the flame and the final laquer?? (top coats) in the UK? Or is there another way? Just trying to get ahead so the build goes smoothly. Many thanks, Paul

The max depth from lowest to highest point on a Gibson Les Paul top is exactly half an inch. There is a flat area around the whole perimeter of the top extending in for 27mm before the curve of the 'arch' starts. The lowest point leaves 4mm around the edge for the binding. I'd book-match it if I were you. I have a luthier plan for a LP at home and If you wish, I can post you exact measurements that you require. Just list them here. hope that helps

Here's what I would do. As a graphic designer by profession, this is an easy one. You can use exactly the same method as any artist uses to transfer a reference picture on to a canvas or other surface to be painted. If you have a local art supplies shop nearby, visit them and get yourself a small artists projector. I have one and it was very low cost. I mean a few pounds. they are not sophisticated. It's just a glass bed with a mirror reflecting the image out of the lens. I guess you could even make one. Pop your image underneath, and you see it projected on to your guitar. Then simply copy what you see with a pencil (or whatever) or even straight to tape. That's the one i bought recently. It was peanuts.