Daniel Sorbera

You could always mask the fingerboard than polish with micromesh and/or a buffing wheel and some metal polish if you want that factory fresh feel (or in this case, probably 1000x better than when it came out of the factory).

I agree with what Drak said. I would never use wood that I thought would result in a guitar that's heavier or lighter than what I'm going for in the final product.

This becomes even more important when the customer has very specific desires. For example I've built a lot of guitars with varying weights from a 4lb mahogany single cut to a wenge double cut that was a bit over 10lb and they all sounded amazing. But the lighter guitars were *much* easier to play for long periods of time without fatigue. I warned the customer that the solid wenge guitar he was asking for would weigh 10-15lbs but he said that's exactly what he wanted and he was thrilled with the end result.

I didn't notice any less sustain in the 4lb guitar from the 10lb one. If anything, the lighter guitar was slightly louder and more resonant unplugged, but the sustain was so similar plugged in that you could contribute it to the other design differences and not the weight.

You should be more worried about building the guitar you want to, taking weight into consideration more for comfort and less for tone.

.02

I think that guitar would look great with a tobacco burst and cream binding on the neck/headstock.

I use the hotrods and I wrap each end with a covering of teflon tape. It makes the rod press fit and I've never had a rattle.

My acoustic neck is huge and I can play it for hours on end without fatigue because I mostly play first position chords and rhythm on it. But on electric I like a much smaller neck and I can't play on anything medium or fat. To each his own I guess...

Or if you already have some kysers or the like sitting around (like me) you can just put enough rubber bands around the handle to lessen the force of the spring so it doesn't pull it out of tune.

Heat + putty knife. Just like the tutorial on the main site, I cant see a scallop making it any different.

It depends on if the wood fibers are just pressed down making a divot or if they are torn and damaged. If it's just pressed down the steaming method works really well. I used a damp rag and a soldering iron and it came back like magic. But if that doesn't work I would use some sort of epoxy filler sanded flush. Just make sure you use good quality epoxy and let it dry a good long time before sanding and finishing it.

D would work well on a fat double cut style.

I heat them as well, and it makes a huge difference. Maybe it has something to do with the fact than when wood gets hot it can bend instead of breaking? I'm not sure exactly why it works on frets that have no glue holding them in, but it does really work.

Very nice. Looks like you got a great bookmatch out of the redwood as well. It looks very classy.

.080?!

Dang does that go through a normal tuner?

Heh. It's got a thinner wrap to go through the tuner, so yes, no problems.

I knew that. Just had a momentary brain fart I guess.

.080?!

Dang does that go through a normal tuner?

I'm building 6 of them right now. I just have been to busy to be posting progress builds here as of late...

Ok...

I'm confused.

BigD for me. That mahogany back is amazing (not to mention the top). The only thing I would do different is swap out the cheesy knobs and put a logo on the headstock. It looks pretty bare with no logo.

Is there a structural or sonic reason to leave the "line" of wood down the middle?

There is more than one reason I do it the way I do.

I could give a long version of my views of sonic signal transference...or not ...

(actually, the intended REDUCTION of sonic signal high-speed transference per Frank Falbo in this case)

...but those answers are boorish and completely hypothetical, whether I believe them or not...

The most basic reason is that it helps support the top. .

Well said good Sir.

Birch makes really nice drums, and they don't warp.

Turning up the gain to get infinite sustain isn't exactly something new. At the volume I play I can hold any note forever.

Body shape looks good, but I'm not so sure about the neck area sticking out of it. Looks out of place. I say ditch it and make the neck a deep set tennon.

dye will always go pale as it dries, its the lacquer coat that brings it to life

+1

When still wet (ie your applying the dye) you should always go a bit further than you think as it will lighten up after it dries. It comes back after the clear is applied, but not quite to the point it was at when applying the dye.

Very nice. I really like the shape, for some reason it's just very pleasing to me. I would have gone without any color, just strait up clear. But that's just me.

Leave it. It looks like a more expensive reliced fender now

Get yourself any small, 15watt or less, tube amp and mic it. That's what I do and it works like a charm.

Yes, the scale length determens where the bridge is on the body in relation to the neck. Reguarding weather or not the neck will work or not with that perticular body you should really be asking Doug from Soulmate guitars about that. He is a nice guy and knows his stuff. I'm sure he can make the neck to fit the warmoth body, and can make sure you get the right scale length that will work with the bridge placement (is the bridge pre-drilled on the warmoth body your buying?)