westhemann

I just spent extra time with the rasp on the ebony and my sanding blocks are really hard and flat,so it wasn't too bad...definitely did have to keep an eye on it though. It's funny how a 3/4" thick chunk of ebony covers so much area at that 12 degree angle.Being that I don't do scarfs too much I wasn't really prepared for that. My Cumaru LP I am working on works out better in that area,because I used a much thinner chunk

Okay,so I'll turn this into the entire guitar topic...body is top routed and power sanded to rough dimensions.Notice the black lines,which are where the body was going to be originally,but because this is a 22 fret guitar and the body was designed for 24 the bridge was overlapping those lines,so I redrew it Hand sanding from here,then I have to rout the back for the control cavity and battery,since this one will have EMG 81/85.

That is close to what I played as well.Faded model...somewhere around 2003-2006 or so. I like the 500T as a pickup.Love it in an Explorer.I also like the 24 3/4" scale length and the TOM height I usually prefer because my wrist works better that way with the way I pick. And that's why I don't know why I hated the one I played.I should have loved it,but it sat like a log and felt like a 2X4

I played a Gibson V at a GC once,but it felt really blocky...like a too thick plank of wood.I don't know why.The 67 V "tribute" I built feels very nice.Totally unlike the Gibson,but I still have no idea why.

You are welcome.

Yes.Tell me what you want it to say.

That Beast i did years ago was all mahogany with an ebony board.The tone was out of this world...if it had been something that didn't poke the crap out of me I would still have it

People do have a completely erroneous perception of what a CNC does and does not do.My opinion is that if you are choosing the blanks by hand,seting it up to the proper grain orientation,setting up the CNC,and finishing up the guitar by hand,then all the CNC is doing is relieving some of the tedium and letting you focus on the important parts.

That's a winner right there

I don't know about that.it's the thickness that matters.Put a wood glue like titebond on a piece of veneer and you will see what I am talking about(just for example). I would say that at about 1/4" or less(roughly),wood starts to curl away from the glue.If you have enough clamps you can counter it,but it really sucks to lose a fretboard,so I prefer not to take any chances....so I use epoxy where I can. But that's just me.Others have plenty of great glue joints on fretboards with Titebond and similar.I just prefer my process be as idiot proof as possible so I can't pull a boner on it

Explosion bad

2 is really just made for outdoor stuff like picnic tables...And personally I don't see why you need that,since Epoxy is much more water resistant than TB2 is. Guitars are under constant pull from the strings,so creep in neck lams,neck heel joints and scarf joints can be a real issue.It will most likely never fall apart,but it doesn't take much shift to cause lines in your finish

I was going to say Elmers Carpenters Glue is a good,easy to find cheap alternative that has been tested to death and always comes through.Good and reliable,like Titebond I. For some reason people tend to scoff at Elmer's...but it's the same thing with a "not as cool" name. I still find myself using T88 epoxy in most joints,even after I claimed I was going back to titebond...Mostly because I like it and I trust it...especially on fret boards(which tend to give me hell with wood glues because the water makes the wood try to curl away) I just used T88 for the first time on fret ends instead of CA.I love it because it seems to pull itself into the gap as it cures,and it is much more well behaved than CA,which always wants to go right where you don't want it to go.

Man,those flathead SS screws are happenin',and the Red Witch is speaking to me...it is saying "Hey,dumbass,why haven't you used that big slab of Red Cumaru that's been sitting around your place for years now?"

Almost done Next come the side dots,locking nut shelf,and then sanding out any minor things...like that flat spot by the volute.Then it will be done and I will start the body.

Interesting clear coat there,Sancho.I remember a few years ago I think there was only one supplier for a 2k aerosol and it was much more expensive for a smaller can.I might give that stuff a shot myself,because I do like the ease of rattlecans but I won't use them because they take so long to cure. I also notice they have black as well...interesting.

Well,I toyed with the idea of "Evil Goat","Devil Goat",Demon Goat",and the like,but it all sounded just a bit too cheesy to my ears.I also considered my initials,but WAF,WF,or anything like that just had no ring to it.At first I was going to just inlay a goat's head,but the first one took hours and I could never repeat it as well,nor was I completely happy with it...So I drew up the goat thing and they put it on a brand for me.Hand drawn and I told them to copy it exactly because IMO if it was all pretty it wouldn't really fit the "sinister" moniker very well. Also,my initials are in the brand.The horns form a W and the F is on the forehead... DBK on the other hand does sound good all by itself.

Cool.I love the neck laminates.

With the volute the neck side looks good but the headstock side should be taken back to the volute point....like this Otherwise it will just get in the way of your tuners and look really bulky

Headstock drilled and branded

Those are good for the money.Better quality than Epiphone at a lower price

Is that one of those "anecdotal evidence" things you hate so much? Regardless,it's true.Amps have a much wider scope of sounds than a pickup.I remember a guy telling me that when I was a teenager and I argued with him a long while about it,but it's only now that I am the age he was at the time that I agree.A pickup is important,but if you are playing through my Engl it is going to sound really good no matter what decent humbucker of moderate output that you use.The type of pup provides a bit of tweaking,but no more than that.The difference between a Tone Zone and a JB is very slight.... And whatever extra bit of treble and mids the Tone Zone provides can be tweaked right out with a good 15 band EQ.I have experimented too much with pickups on my amp to think otherwise. It is all important.But don't expect to get glam metal from a Gorilla amp.It isn't going to happen...but if you have a good tube amp set for glam metal,then it is going to sound like that no matter what superstrat you plug in.If you don't believe it,take another listen to that video I posted.Those are EMG...but through his system you would never know it.

Really nice.That headstock design looks great on a seven.

I would be really tempted to look around ebay for stuff like this http://www.ebay.com/itm/2013-Gibson-USA-Les-Paul-LPJ-BODY-NECK-Project-American-Guitar-Gold-Top-/190985237160?pt=Guitar_Accessories&hash=item2c779b72a8 http://www.ebay.com/itm/2013-Gibson-USA-Les-Paul-Future-BODY-NECK-LOCKING-TUNERS-Nitro-Ebony-/141122781140?pt=Guitar_Accessories&hash=item20db92bfd4

I do like guitarfetish.