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About peterbrown

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  1. Thanks Oblaty, To be honest I couldn't tell you exactly how long it took. I should keep track to it I know. Final Specs: Body - One piece quilted Qld maple with ebony Binding and MOP purfling Neck - 3 piece laminated Qld maple with wenge accent laminations Fretboard - Ebony with engraved "Rose thorn Tatoo" MOP inlay. Hardware - Gotoh tuners and Shaller top tail bridge with roller saddles Picups - Seymour duncan "Slash signature" hummies And more final pics Cheers, Peter
  2. Thanks, Pics of the sanding complete and a thinned coat of blonde shellac wiped on. Cheers, Peter
  3. Thanks And Thanks Pics of shaping the body, gluing the neck Cheers, Peter
  4. Thanks for the kind words as always, As far as tips for the inlay. Where do I start? I guess just take your time. For scribing I glue the inlay on with a craft contact adhesive. It is strong enough to hold it to scrib, but can easily be popped off for routing the inlay. Use a sharp scribe and work as close to the line as possible. Scott, the binding is ebony. I call it "blind binding" virtually invisible and hides the slots makeing for a neater fretboard, and plus adds just that little bit of extra ridgidity to the neck. More pics of the fretted fingerboard Shaping the neck
  5. Thanks Menapia, More progress pics of the inlay Cheers
  6. That top is sweet as. Definately a unique piece thats for sure. Cant wait to see this one set up. Cheers, Peter
  7. Hi, Here is another I have been working on. Nick wanted an 80's themed/inspired axe. An interesting challenge is just what the doctor ordered for me (guitar doctor) Specs: Body - 1 piece figured Queensland maple with ebony binding and pearl purfling Neck - 3 piece laminated Queensland Maple Fretboard - ebony with pearl custom inlay Bridge - shaller stop tail More spec details will be provided as the build unfolds. Starting Out with the CAD. I won't be chambering with the 1 piece body. And lets get started Cheers, Peter
  8. Thanks for the feedback again, Prostheta, the bridge location is pretty much bang on where a traditional LP bridge is. the body is a little larger than a LP but not nearly as large as an arch top. The extra open space, visually appears that way for the combination of adopting a stoptail wraparound bridge as opposed to the traditional tune-o-matic and stoptail combo which extends the string length past the bridge position. In addition there is a full 24 frets as oposed to the traditional 22, which makes the illusion that the bridge is closer to the end of the fretboard, where as, it is the f
  9. Thanks for the kind words Scott, The clear coat is waterbourne laquer sprayed on. Charlie, The cavity cover I cut out of the back plate before gluing the back plate on. I cut the cover out very carefully using several passes of a dremel router bit. The gap in the cut is filled with the binding. So the garin matches because it was originally one piece. More pics... Cheers Peter
  10. Hi, Dropped this off over the easter weekend Final Specs Body - Chambered blackwood with fiddleback blackwood carved top and matching backplate with maple highlights (cut from same billet) with cavity cover cut from the back plate. Binding is flamed maple with paua purfling. Fretboard - Ebony with blind binding (to cover slots) and tribal wave paua 12th fret marker and offset dots. Neck - laminated quarter sawn blackwood with tappered fiddle backed centre and maple highlights. Headstock top plate and bent backplat is highly figured blackwood with maple highlight. Hardware - shaller t
  11. Great work. Nice clean lines all round. Very tidy indeed. 1+'on the heel design. Any plans for the third?
  12. Hi, The binding is timber. Flamed maple. The binding is bent in much the same way as acoustic sides. I wet the binding and then bend it around the bending iron. The same goes for the back plate of the headstock. It is necessary to pre bend the binding with heat especially around the tight bends to prevent tear out when gluing I rout the inlay with just a down cutting demel bit. I start with a small bit to goe around the outside. I rout just up to the chalk line just taking enough so that the chalk line disappears. Once the outline is routed I use a larger bit to take the bulk internal ma
  13. Hi, More pics. Shaping the heal into the body for improved upper access and final shaping the neck to profile Cheers, Peter
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