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Ya'll and me BOTH, i check that site like no other, i'm on there 3-4 times a week lookin'f or new stuff too. Nothin' ever better than his work. Chris

Sounds ALOT easier than the full process from the Bennedetto video I was planning on following with SEVERAL different buffing compounds and wheels, and polishing pads, etc. Noice! Chris

So since you have to push them on to MAKE the grooves... EBONY is probably NOT a good choice of woods to use... is it? Chris

and what would ya'll think if I moved the bottom f-hole up a bit so that I could fit the knob where the top f-hole has it's big hole, so they ARE the same exactly, except for the fact the bottom on has knobs instead of holes? (maybe make the knobs BOTH black too, so they match the holes cause I'm planning on spraying/brushing the inside of the cavity black, 1) to seal the grain, and 2) to make the holes dark and thus stand-out more) Chris Edit: Or just remove the big hole on the top one so they BOTH don't have a circle at the back end? and therefore they'd both be symetric... and I would have just been placing knobs NEAR the bottom one...?

well technically it is the same f-hole, just the bottom one is further back, and instead of a top hole it has a knob (the same size as the hole on the other, cause i used the knob as to trace that hole). But the SHAPE of the hole is the same, from the same template. Also, I've kinda grown on the whole "non-semetrical" idea ever since I saw the Pagelli "Jazzability" That's one of the things I LOVE about this guitar, it's almost "cartoonish" feel, yet how it still implements some classical forms. But yeah, to each their own, but sorry, the f-holes are one of the things I LOVE about this guitar. Chris PS: Maybe I SHOULD take a hint from all you guys, cause almost everyone is critical of my f-holes... however, hopefully when it's dont ya'll will change your minds and see the light, cause I can feel it's going to look SO elegant.

Ok, I originally wasn't going to make a thread in this part of the forum (but I got tired of making threads in other parts for things like "what do ya'll think of THIS part of it? and what do ya'll think of THAT part of it... so I'm consolidating it here). As for the name... i think the greek leter meu followed by a subscript X would be a cool logo... plus in statistics it means "Expected Value" which I thought was a cool subliminal type of message. Either way, here's the pieces I've got done as of now, with drawings of what it SHOULD look like in the next couple steps (complete with shading for the f-hole i designed that everyone in a past thread was wiggin' out on.... but i love it )(and it shows how I fixed that BIG router mistake also from an earlier thread). Close-up of Upper F-hole Close-up of Lower F-hole Hollowed Out Body Blank Please take the time to look at the f-hole close-ups, cause it's a little hard to see which parts are actually holes, and what's not from just the first pic (everything shaded will be cut out). Chris

hahaha, love it, it'll have what I'm guessing is gunna be a "tie-dyed tank top" feel with that shape and spiraled design of grain. Chris

Yeah, cause I've got a 3/16" spruce top that I'm about to glue on, and it's no that the top isn't flat... it's just that since its such a soft wood with all those grain lines perpendicular to the center line at the edge it's just got LITTLE places where not ALL of it closes tight to a gapless seal (TINY gaps, no bigger than like.. rosewood grain). I was hoping I could just use my palm sander and get all this out... Chris

I dunno about the whole building fake ones and passing them off as original thing... but he DOES heavily MOD a lot of guitars and attempts to sell them. If he was building guitars and selling them under say the "Gibson" name, I'm sure he would have been sued by now. HOWEVER I DO see. like I said, him retopping things alot, and he does have a suspiciously high quantity of 5A Diamond super flame quilt mojo (the point i'm trying to make is they're REALLY figured tops) tops, especially when Gibson makes VERY few nice tops (IMO). But yeah, check these links out for necks to use from him if you wanna deal with him being a dick (and he IS a dick, I'll agree to that... like if you EVER talk to him on the phone (which I have) you'll see what I mean). PRS replacement parts, including necks As for his total rebiuld and still trying to pull it off as a company guitar tactic, here's a display of it. In this case the ONLY thing left original is between the nut and the last fret... to me it's no longer a PRS... The "Not Quite PRS Anymore" PRS Chris PS: But I'd say go for the soulmate neck, looks MUCH better, and probably MUCH cheaper than you're going to give ED for a PRS neck, or one of his "PRS style neck with "slightly bigger headstock for legal reasons"

What would be handy is if they had miter boxes out ther for 13 degree cuts. cause I know you can get like dovetail saw miterboxes that have the usual 90, 45, 30, 60 degree cutting guides... but i'm guessing 13 degrees would be a hard one to find lol Chris

Yeah, that's what I was thinking... but there's GOT to be a way to do it in one quick super accurate way....

I was just wondering what tools you guys use to cut your scarfed neck joints? Cause I'm sure everyone has a different method, so I was gunna see hwo does what and the pros and cons of them all. Chris

the tut I started on my guitar building process has some info in it on template repair. http://projectguitar.ibforums.com/index.php?showtopic=19494 Chris

It would change the color of your grain. IE: if the filler is darker than the mahogany, than your grain will stand out more. If it's not, then it won't. Chris PS: There's a BUNCH of topics on this... I know cause I started one of the effects of different colored grain filler awhile back that would have EASILY answered this, and there's many others. Search?

My question is why would you WANT to buy a neck meant to be bolted on... and glue it on? I'd just go to www.soulmateguitars.com and have him make you a glue-in neck for your body. OR, I know people around here don't like Ed Roman, but he's got ALOT of set-neck options ranging from PRS ones, to Roman ones. Chris

Here's my two cents. Go with what mattia said, make it a DEEP carve, and if you do it right you'll end up with something like the Kritz guitars I'm always praising around here. Also, I'm in favor of taking say a big CONTRASTING color wood.... like ebony.... or purpleheart, and filing that in, then inlaying your "comapny" name or initials and make it like a "beauty mark" kinda like your signature on the guitar. Then people will think it's intentional. Chris PS: NICE body, I'm REALLY diggin' that, my kinda style to say the least.

Also, just to add to the conversation about the "gap" that'd be there if you just angled the heel in a straight pocket. I don't think it'd really matter, because that gap would only be at the END of the pocket, which in most cases would be underniether where you've routed the neck pickup, meaning you'd only see this gap when you removed the pick, and the further down into the set neck's tennon you routed, the less and less the gap would become. So isn't hte point kinda moot? Chris

Sorry to bring this thread back to life, but I think it answers alot of questions, and I've got one more issue to add to it. Earlier we were talking about just lying down your template, and then putting some small pieces to wedge up the back, and then TADA, you're good to go with your angled pocket. HOWEVER, what if the shape of the body above and below the center line are not symetrical (ie: a single cut, or ANY guitar where the upper horn is long than the lower, or the cut-aways on the top and bottom are not the same) cause then, when you add the shims to raise up the back of the jig, the FRONT of the jig will then be rotating a la where it hits the body, and since it's not symetrical, they'll be rotating wrong. Kinda like a door with hinges that are not on the same line/plane. So technically if you did this, you douldn't only get an angle in the direction of "back towards neck pocket", but you'd ALSO get an angle in the "top to bottom" reference. Making the neck sit tilted from both references? Any thoughts? Or is there a picture needed? Chris

It will be awhile, I'm still workin' on the body. But when I'm dfone, you all will know it Chris

A god amongst men. I thank thee. Chris

Any 5 way blade switch will work. Standard, or superswitch. I'm not picky as long as it gets the job done. So yeah, if you'll draw it up with any 5 way i'd be eternally grateful. Chris

Anyone know where you can buy the parts that make the knobs stay on the pots? Like the Ibanez ones that just slide on (not the ones that you need to screw on the side to keep in place). For like if you wanted to make your own knobs with plastic, or turned wood, etc.? Chris

PRS did a beautiful example with it's "modern eagle" guitar. Blue stain with white grain: Chris

I just looked at stewmac's guide on doing that... and I'm still lost? any iea how to go about doing it? Chris

Hi guys, I'm looking at putting in a humbucker in the bridge position (SD SH-5 Duncan Custom), and a SD Phat Cat (P90 in a humbucker sized casing) in the semi-hollow that I'm currently building. However, I wanted it to be set up like this: 1 vol., 1 tone, 5 way selector with the following choices: position: 1- Humbucker (both coils) 2- Humbucker Coil Tapped 3- Humbucker coil tapped combined with P90 4- Humbucker (both coils) combined with P90 5- P90 by itself I know it's kinda weird... but is it do-able? Or would I just be better off with a 3-way for positions (above) 1, 4, and 5, and then just using a push-pull pot to get positions 2 and 3 aswell? Chris