kpcrash

I'd be interested

I guess I was worried the 1/4" would snap in thicker material, but I'll get that a try.

Thanks Mike and Dave. I might mess with it a little more - last think I was is the dreaded 'snap!'

Think Cardovan. Kinda dark red/brown burst vs black. That way it won't look so cut and dry - more natural. Just a thought.

I have a recent bandsaw acquisition - basic Ryobi 9" that was gifted to me. I know from the previous owner that it might have been used once to cut some shelf brackets he was trying to make. I purchased a new 3/8" blade for in hopes of maybe using it for more intricate work (like horns in 1" wood). Got the belt on, tightened up quite well and on track. I have also clamped it down to the table as I don't know that I have space to permanently bolt it down yet (plus the other one might get jealous) When I'm cutting with it - I was getting a rather jagged cut on a 14 TPI blade - meaning, it's obvious it was done on a bandsaw - a circular saw with a framing blade gives a better edge. And it was rather squeaky going through curves. I tried adjusting the blade tension a little more and of course now, when attempting anything other than a straight cut, there is quite a squeal coming from the blade in the wood. Is it possible I need to loosen it? Use a thinner blade? thoughts?

Since I am a gentile, I'll respond I have made commission customs for people and done several custom finishes for people related to guitars. I also write software. Both are related in that they require skill and time. Lesson learned - nobody likes to pay for someone else's "time". My father-in-law is a master woodworker who builds grandfather clocks that sell for 10-25k each. He sells maybe 3 a year and constantly hears that so-and-so company makes one for 1/3rd the price. You can sell them and ask exactly what you want for it - but the question that needs to be prepared for is what's the value in your custom build that isn't already available - other than it's handbuilt? Is there something awesome about the handbuilt process that makes the setup better? (I'm just throwing this out rhetorically). Most of the builds that I have sold are unique in shape and or finish and people are willing to pay for that because it looks custom. Just my thoughts.

I won't insult you in saying to look at a list of woods to determine which are 'hardwoods', but I will say that as a general rule, if your fingernail makes a dent in it - it ain't hard. But then are different classifications of hardness, etc. I can make a dent in some maple, but not in rosewood, purpleheart, etc. You can use anything virtually anything that can support the tension of strings pulling on a screwed in bridge. This topic comes up very frequently around here and I'm still trying to figure out how to make one out of cardboard just to be a smartass For testing out - you could always use what most of us do which is pine, ply or mdf.

If you were to attempt this with a trio, which has some marginal routing capability (I own one), it will be a VERY slow process. Bridge placement and depth are rather exact and carving out a floyd cut with a 1/4" spiral bit will take a while (and a lot of patience, even with a template). +1 on Hiscock's book - even if you never build a guitar from scratch, it is quite helpful in how to maintain and setup a guitar for optimal playing - and it's only like $20.

That's awesome! I may have to try this soon. I'm thinkin I'll PM if more questions though - don't wanna rob the thread. Thanks!

I'm just interested in exactly how the neck is built. I've thought of trying to do some kind of wizard-style neck for a different body - just haven't gotten the cahones yet to shave one down that thin.

None that I have right now are string-through, wouldn't be much help.

good luck!

Looks like that trem just might work. GF has some pretty good stuff for a pretty good price. Need to find a vintage TOM to go with it though.

this is actually pretty cool.

+1 on Jazzmaster style. Silvertone made all kinds of unique body styles. The sacrilege isn't making it a Jazzmaster close, rather filling those cavities with some unknown goo and thinking it's a good idea.

well... the two hole posts in front indicate it was something that would support a TOM bridge. This wouldn't happen to be a Silvertone would it?

got pics?

Maybe we could isolate part of this into a raised top tutorial? Definitely a good show of craftmanship!

Gotta love a guitar with a kickstand

What type of pad are you using for polishing?

True. There's caps in there for a reason

Most lacquers are not cold-friendly because it takes too long for the solvents to evaporate - which can cause all kinds of undesirable effects. This is why some of us use waterborne finishes, esp. during the colder months because there are a few (KTM-9) that are quite safe for indoor usage.

I have been asked about making a neck-through/string-through strat for a friend. What truly annoys me is they want a painted finish, but that's a different story. In looking at this I started to get curious about exactly why the holes for the strings had to be at 90 degrees through the body. I know this may seem like a "DUH" question, but my thought is that if the goal is extra sustain... and/or better string tension/vibration through the whole bridge-to-tuner connection - would it/could it be any better by perhaps angling the holes for the strings towards the neck? Thus creating possibly more string tension and providing more mass for the strings to vibrate in the body? Or is this just evidence that I did inhale during the 80's?

You can just lay the bridge on it - I prefer to solder it just to make sure it doesn't move.

That's the ground wire to be routed to the bridge.