Ultimate Garage Band

My attic will get in excess of 135 degrees w/98% humidity. Perfect conditions for curing 'boat' wood.

climate controled is always best. Where I live, if I kept good wood in a shed, it'd mold.

here's one that has SOLID quilt maple sides and back w/a spruce top: http://www.elderly.com/vintage/items/20U-9033.htm You know, I just don't think you're gonna find a solid maple top because it's probably too rigid to give a good acoustic tone. It seems to me that once you start moving away from Spruce or Cedar, it can get very bright very quick. I have played a Koa topped guitar and a few Mahogany (they weren't overly bright but more than what you'd think) and some other Asian species I can't recall. It's kind of a cross between Koa and Mahogany. It was an Alvarez. These hardwoods, like maple, just don't 'breathe' the way the more supple softwoods of Spruce and Cedar do. They move more freely which means they're better at articulating tones and move air/bigger volume over their hardwood counter parts.

according to this, you just use brute clamping force/pressure to get the arch: http://www.stewmac.com/shop/Tools/Clamps,_...em.html#details They sell standard jigs for dreadnaughts but I'm not building a dreadnaught.

yeah, he talks about having an arched back and gives some good reasons that I hadn't realized, but he doesn't say how to do it. Maybe someone will be along. Thanks!

sorry for the multiples. I'd like to keep this one as the thread on the topic. Thanks.

I clicked 'submit' and got an error message that the email didn't go though? That happened 2 more times. Sorry. Wish I knew how to delete this.

I seem to be drawn to acoustics that have an arched back. I guess it seems they produce a richer tone to me in a smaller body size. I find dreads too big to be comfortable to play for a while, so I'm chasing a GC or OM body size, maybe smaller, and I'm thinking the arched back will increase the bass response and volume a bit. If I were to do this out of a 2 piece back, how do you get the arch? Do you bend/shape the pieces before you glue them together? Do you glue then shape? How do you shape it? Let's say, for discussion sake, I'd like to put an overall 5/8" arch to the back. Is that resonable?

My sole acoustic currently is a Washburn EA11 which is an Indonesian cosmetic factory 2nd of an EA17; that's my best guess anyway. The Washburn site doesn't even list the EA11 as a model it makes though mine specs out exactily like an EA17. It's quilt maple on all 4 sides and less than 3" thick. This is a stage guitar, like Vai's would be, for high db, live use to cut back on feedback. In this context, the unplugged acoustic tone of the guitar is 2nd to the plugged in tone and the 'deader' characteristics of laminates are perfect for a guitar that's designed to minimize feedback. One thing you'll notice in the listing of the Ibanez is that they say it's quilt maple. One thing I learned about acoustics is that unless the word SOLID is in front of the species of wood, it's a laminate. So, that Ibanez is like my Washburn, 100% quilt maple laminate. Here's a sound clip of mine in I played poorly and incorrectly a riff a couple of times. The first time I think is pure unplugged acoustic tone recorded w/one MXL-V67 mic. The 2nd one would be that mic plus the guitar plugged in using it's B-band pickup system. The 3rd is just the B-band I think. http://ultimategarageband.com/hotlinks/EA17test3.mp3 This past weekend I had a chance to check out a ton of high end guitars at a gathering in Conyers, GA and played guitars by Santa Cruz, Goodall, Larrivee, Taylor, Olson, and others. I played at least 30 guitars that retail for $3000 or more. Here's what I came away with: 1. The 'perfect' wood combination that elicits a tone that I most enjoy is a Sitka Spruce top w/solid Koa sides and back. The Larrivees I played w/this combo were killer although the Goodall I played was a bit smaller than the Larrivees and I just slightly preferred it. Although I'd be VERY happy w/a Larrivee version. These were about OM sized bodies, 14 frets to the body, no cutaways. 2. Maple on acoustics, to me, is just too bright. I know that a personal taste thing, but I played several 00 and 000 sized guitars w/Spruce tops a solid flamed maple sides and backs and they were just too bright. Of all the guitars and wood combinations I picked up and played, I put those down the quickest. 3. One look at my Washburn and any acoustic player worth anything thinks "That guy plays electric guitar." Sure, these quilt lams are pretty, but as someone above said, acoustic guitars should be about tone first and looks 2nd. I like my Washburn ok for what it is, but wouldn't cry if I didn't have it. I'd certainly replace it w/something a bit nicer. At least now I now what my 'ultimate' acoustic is made out of. Larrivee has some at around $1300 or so. The Goodall would be around $3000. I've never made an acoustic guitar before, but at $3000 I think I'd be tempted to try. I'm not a woodworking rookie though; I've got tons of experience in furniture and some solid body guitar repair, etc.. I'm going to keep watching this thread, I'd like to see what you do.

it's funny how much GAS this little thing is creating! I've posted stuff on it on other sites as well. One thing I found out is that if dad sold it, he could expect to get about $2000 for it. I don't know who makes them today, if anyone other than a private luthier.

hmmm, I hadn't really figured they were worn, just in sore need of adjustment and lubrication. Some move smoother than butter. I'm going to get a magnifying glass and inspect the gears for wear. Thanks for the tip!!

yeah, that's it! My dad's has solid Brazilian rosewood back and sides w/a solid spruce top. Here's some more pics of dad's and little mp3 clip I made of me messing around on it. I don't know how to play a uke, so I don't know how to play a tiple either. This just gives you an idea of the sound although these strings are a few years old. Martin tiple mp3

Ok. I'll see if I can aquire some graphite powder locally. It's not a guitar, it's much smaller. It tunes like a uke, it's more of a 10 string uke.

I have my dad's 1963 Martin T-28 tiple and I'm going to clean it up for him, restring it, etc. The tuning keys are very inconsistant. Some turn very easily, others quite stiffly. My plan is to reduce the tension on the keys by tuning down, then applying a lubricant (open for suggestions) and then adjusting the screw that holds the gear in place on each tuner so they all tune w/the same resistance. There is a horrible buzz coming from them too, so I'm hoping my screw adjusting will handle that too. Does this sound like I'm on the right track? Any pointers/suggestions? Oh, once I'm done w/the keys, I'll remove all the strings, clean the fretboard, then restring it w/a new set.

The string trees would only be needed, possibly, if you have a flat angle on the headstock. A reverse will work though. The Carvin AE185 just doesn't use an acoustic bridge, that bridge is also an acoustic pickup and you can blend it's output w/the magnetic pickups. It even has it's own output jack so that you could run the magnetic pickups to one amp and the acoustic to another amp.

Go check out the AE185 at Carvin's Web Site

Thanks! I think I've done all the tweaking I can do on it for action. The next step is to take it to the shop and let Mac get it lower. I did, however, tackle the strap button. I had a rehearsal w/it last night and will be playing it in the 8:45 service this Sunday, so I decided Wednesday to go ahead and put the button on. I had to get my wife to place the small block of wood w/glue on it in the sound hole and up to the button screw. My hand was too big to fit in there. I used a piece of 3/4" pine that I cut to about 1 1/4" x 1 1/4" and I drilled a hole in the center. I used my DeWalt random orbital sander to smooth over the outer edges and the pad on my sander fell into two pieces!! It's about 10 years old. I guess it just rotted away. So now I have to order a replacement pad and put it on before I can use the sander again. In my test fit, I drilled the hole in the guitar and had my wife line up the block w/o glue. It wasn't hitting the hole. The neck joint inside the body was keeping the block from lining up, so I had to drill a new hole about 3/16" from the edge of the block. I really reamed the hole good w/the bit and then drove the screw in and out about 3 times and reamed it again. I did NOT want this tiny, little block of wood splitting on me! So, we test fitted again and the screw hit the new hole. Smeared some wood glue on the block (after making a quick trip to K-mart to get the glue; couldn't find the glue I know I have... ) and I snugged that sucker right up on in there. The block doesn't touch the top or the bottom, in fact if I had made it any larger it wouldn't have fit between the kerffed lining. I used it last night for rehearsal and it works just like it's supposed to. High tech stuff.... I know.

I did, w/my dad, back in about '77 or so. We built a rectangular box out of 1/4" plywood then cut it into 2 pieces, a bottom and a top. Then I covered it w/fiberglass, painted it black and stuck some foam and cloth on the inside. Put a handle and some latches on it. I bet, empty, the sucker weighed over 25 lbs!!! Also, the handle was not mounted in the right spot and the thing was very neck-end heavy. Couldn't dump it fast enough.

The first section is totally unplugged; I used my MXL-V67 large diaphram condensor mic. The next section is both the mic and the guitar's electronics. The last part has 2 rythm guitars recorded like the 2nd section, mic and guitar's B-band, but the lead solo part is just the B-band running into my Johnson J-station using some compression and reverb. EA17 Test Clip I'm a hack player, especially on acoutic. All my flaws are magnified but I'm not afraid to play one anymore so I'll probably get better. The EA17 is an all maple laminate body and top, maple neck, rosewood bridge and fingerboard. The body is only 3" thick. I used a brand new set of Ernie Ball X-tra light Silk & Steel strings, 10 - 50. This mp3 has no eq'ing, no processing, etc. It's as 'raw' as I can get it.

Here are some pics. I'm going to try and knock out a sound clip tonight; just one mic to capture the unplugged tone, and then that mic mixed in w/the guitars electronics.

the dude in my town is 69 years old and has been making guitars for over 40 years.

I got the strap buttons today. I also got my new strings. I put the strings on because I was so anxious to check out the true tone, playability, and action of this guitar. I also was not in a hurry/rush to install the button, however, while tuning up the new strings the phone rings and it looks like I have a rehearsal Thursday and will be playing Sunday morning. I guess I'll use my old leather string on the headstock strap this week. I don't want to mess w/the new strings yet. I'm more concerned about setting the guitar up well. I wish I could lower the action a bit but the E string buzzes from the 3rd to the 7th fret when I do.

I don't have a drill press. I bet the local repair dude would do it for less than $20.

I could try that I guess.

This Washburn EA17 I got last week has abalone dot inlays and 2 of them are just about solid black and don't show at all. It looks awkward and is not functional at all 'cause you can't see them. I know Stew Mac sells various sized abalone dots cheap; what's involved in taking out the current dots and popping in new ones?