mledbetter

shameless

I am referring to everyone's work, I don't care if I win or lose I am just making a general statement about people.  There a a lot of people around the world who love my work and yes I do things differently sometimes, like not filling the grain to keep a natural look,  and the scrape is actually sanded all the way around the fretboard to give it a little border, pictures and site suck but I have no money to build full time.  I was just making a comment about someone in particular cause there was a false assumption about my work made twice by the same person.  As for everyone else I was just venting about stupidity.  Yes the guitar was built for me, I love it and it doesn't matter I just like to vent sometimes about stupd things, has nothing to do with the contest.  I have called people stupid in other parts of this forum before because people do ask and say dumb things all the time.

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Your choice to call someone a name, rather than to simply disagree and support your argument is just that -- your choice.. But it's a choice that either says a lot about your age, or maturity, or both. . Disagreements are perfectly fine, but resorting to name calling doesn't make a whole lot of sense. It just discredits you.

wow.. i think it's awesome. attitude, but with classic style. I love a good gold top, the finish looks very nice. I think you have yourself a winner there. very original.

Man this is realy deadly I cant beleave Im doing this  

I realy think I can do this

Oh And I found This link that Maiden sent me a while a go this Is the sam thing right?

http://projectguitar.ibforums.com/index.ph...88entry122688

!!METAL MATT!!

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Yep. That's it exactly. Thanks, i forgot that was there

I love the black fill trick.. You may find you want to black burst the thing instead of solid Or do like a blood red to black burst with the black grain showing underneath..

hardware store. sanding sealer - deft, there are others.. just make sure they are compatible. I would think most anything would be compatible under auto primer. I've not researched that though.

WOW cool man thank's That's some great Info there  

Now will I still need to use a sanding sealer as well?

and what should My wood be sanded to before I apply the epoxy fill?

and after I put it on the body I should heat it up on there as well?

and does any one have Any pic's of the epoxy fill process? I think Maiden may have some But I cant find them any where

Thanks's guy's for all the help

!!METAL MATT!!

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Maiden is the one to ask the specifics.. I'm barely getting started with this.. but following advice from his thread.. Which is the one about the 7 string PRS if you search for it. Personally,I would seal, then porefil. Sealing would just ensure you're not losing epoxy too far sown into the guitar. Depending on how thich it is, i'm sure oak can really drink up stuff like that. Sand to reasonably smooth 220-320 is sufficient.. you're going to resand it anyway after the epoxy. The stewmac stuff i'm not heating. But there is epoxy for woodworking stuff, and there is glue. The glue may be thicker so heating would be necessicary for using it as filler. Certainly cheaper to buy the glue for small doses. System3 epoxy is great stuff and you can get it at woodcraft or other nice woodworking stores, but it's abuot 30 bucks for the pair of bottles.. My black stuff was 12.95 i think and it's a couple small bottles.

You could probably find a lot of epoxy talk at MIMF. A lot of the acoustic guys use it for porefilling too. A good clear epoxy for porefilling can enhance the clarity of grain and make your wood really resistant to dents and dings.

Seek ventilation though nasty stuff, as are most of the various goos and goops we have to work with.

I'm using the slow set (30 min) black epoxy from stewmac. You mix it and then squeegie it on with like an index card or something so you can sort of scrape it into the pores and not leave too much on the top to have to sand away. You're just grain filling, not trying to seal the wood completely so as long as you bring the pits and pores up to the level of the top wood you'll have what you need. The black really pops out the grain too.. of course that doesn't matter here

I'd do epoxy.. not that you'll need the hardness so much but oak is so extremely porous.. the color of epoxy won't matter since you're doing a flat black.. but you should be able to get it close to perfect with epoxy, then a few coats of primer will level it out completely prior to your paint job.

oh to sit in your office monkeying around in Rhino3d while your shop elves and robots spit out bodies and necks, and your Plek system scans, sands and levels your frets for you (j. suhr) lol

It's the price you pay for selling through retailers I guess.. His comment on one of the machines was "yeah it's ok but kinda slow.. you can only do a few guitars a day on it"

If you have access to freehand or illustrator.. it's not hard to put a photo in, trace it.. set your units to inches and scale it up to a known measurement.. Nut to Bridge for instance i guess is 25.5 So scale it up to that and you can print out a lifesize drawing.. Would be an easy way to input both and morpht he shape and print out a nice drawing.

What I do is a tile print on my inkjet.. then using spray moutn, i spray the tiles to a sheet of MDF, bandsaw right through the paper, spindle sand to true it up and i have a template.

well, i'm not sure about that...

i always tought that my current guitar (25" scale) had a long scale since, even on lights, strings never have had any slack...

also, a Strat is the perfect example of slackness (as far as i tryed some) and its 25.5 ...

anyways, personally i prefer smaller frets even with 24 frets...

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If you put the same gauge strings on a strat and a paul, tune to pitch and pend the e on the 12th fret as high as you can go.. you'll get a wicked bend on the paul and on the strat you can get a whole step easily, a step and a half if you really dig in.. I've gotten 3 step bends before on a paul without feeling like the string is going to break..

If the strat you were playing felt slack, it may be more attributed to the trem giving way as you bent the string rather than slackness of string tension. All things otherwise equal, the longer the scale, the higher the tension.. that's just physics..

That's pretty cool..

man.. that's supposed to be a pretty nice amp. The guitar i could do without but the amp is a pretty nice unit.

The most common "capsule" mics are a high-imp lower that average output-capable dynamic. You can kill the output of these with almost anything added to the output circuit. I am surprised it had a three-wire volume pot, although it is 500k. Surely, this mic is always used with a decent preamp so modifications might be forgivable to an extent. I would prefer to do all tonal-mods at the pre/mixer.

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Generally those bullet mics are run straight into a guitar amp.. Most of the time i've seen them used live they are even overdriven.. A friend of mine used to have one and they take a beating. They aren't very sensitive as they are expecting you to have the harp touching it and all the airflow going straight through it..

Best sketch ever..

Back on topic.. Anything you have that fits the shape.. i've used odd sized pieces of PVC as blocks before.. Some folks use bondo and custom form their own sanding blocks.. For a gentle curve though, foam or ruber sanding blocks are the best.. will keep it even without making "facets" on the surface..

I would KILL anyone coming near that with a belt buckle on.. Absolutely killer looking dude..

I've heard the carvin legacy combo sounds good but is just painfully loud..

I play a 15 watt so I know it's capable of blistering too.. but problem with those for stage is you absolutely have to mic them. The dispersion from the small speaker is just not enough.

30 watts are just confortable for gigging. You can use a hotplate still if you want to tone down the thing..

I love ashdown bass amps, never tried the guitar models. I know they are top quality stuff though - and on the peavey classic series, some of those amps really kick ass.. HOWEVER they are very blues oriented.. classic tweed kind of sound. If you're wanting hi-gain go elsewhere.

If I had some money to blow, i'd check out these guys. All P2P construction, great classic sounds.. Check out sound clips for the BuzzBomb.. ThunderTweak Amps The blue model with the white rally stripe is killer looking. It's a hi-gain 18 watt head.

edit: I take that back.. listen to the clips for the Top Fuel 50.. Unreal..

nah.. you don't want a deville.. they are awesome amps.. but for their purpose..

You need something that you can really harness the power tube distortion on. One issue with a 100 watter is you'll kill someone if you turn it up that loud.. You might want to check into a boutique style 30 - 50 watter. There are a ton of em out there.

Don't forget too.. the tubes you put in make a huge difference. There is a dude with a site called www.eurotubes.com who is amazing. I retubed my little tube amp, told him the sound i wanted.. he was like "yeah put an ay7 in the such and such slot and something else in this socket and here's teh set you need.. " I bought it and they are awesome. Totally different sound fromt he same amp.

So my advice would be maybe a 30 watt twin.. Still enough to hurt someone, but you can retube for early breakup. 30 watters come in all flavors from vox to marshally sound so just shop accordingly.

No prob.. AllParts and I have become fast friends

Allparts pt PC_0303-023 is black plastic pup covers.. looks kinda EMGish.. is that what you mean? or like a standard gold or nickel cover, only black?

Oh.. Big Edit.. pt PC_0300-003 are nickel/silver covers - black plated..

I use an orbital.. but you can still use a block on a lot of it.

Also, you can get a bag of contour sanding widgets from woodworking stores.. Mine came with 3 concave and 3 convex wedges.. you wrap paper around them and get started.. great for sanding hard to reach recorve areas.. and the concave ones are nice for cleaning up roundovers or softening hard edges.

In E.. I can fake my way through any song with these chords..

022100, 044200, 066400, x02200, x24400, x46600, 099800, 079900

I think that's right.. don't have a guitar in front of me.. It's just a simple walk up 8 chords with root notes in the E major scale.. But on an acoustic, the way they ring out is great and between those and a capo, it's real easy to fake your way along with keyboardists and their crazy chords

Yeah which would be great except that stew has discontinued both fret scale rulers 

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Still showing on their website no. 3411. I find it so useful - having Fender, Gibson and PRS graduations on one rule.

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But when you click on them they say discontinued.. They would rather you buy their 40 dollar template.

I then use a stewmac fret rule (not the template which locates on a pin) which I tape onto the top of the fingerboard with masking tape. It's then just a matter of lining up the fret graduations with the cut line.

Yeah which would be great except that stew has discontinued both fret scale rulers

If it's a one off custom design, there's no way to make templates. I know a few people that 'build guitars' that wouldn't know where to start without having their premade templates. I think it's nice to be able to tweak stuff halfway through the build and not have to worry about making new templates.

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Even for a one-off I like to make thet template. It's a whole lot cheaper to tweak a shape on MDF than on a nice glueup. But that's just me..