matthew bryan

Hello all, The last build I did....quite a while ago....does not have sided dots on the neck. I built it to only have fretboard markers on the face of the fretboard......and these were installed offset to be on the left side of the fretboard (if you are looking straight on the fretboard). This was done to both have a different visual feel and to be able to see them as they are closer to the side and I did not think I needed the side ones as this was a duplication of work. However.....I was wrong. I did not put a belly cut into the body and therefore it does not "rotate" up towards me showing the fretboard markers at all. So I was going to install some side dots. The neck is a truoil finish and I was wondering if taping off, marking , drilling, and filing down with a file vs sandpaper would work as I do not want to mess up the finish. Any tips would be appreciated as I dont want to refinish the entire neck if it can be avoided.

Mean......and extremely lively.......just not musc words to describe it. I have put it through its pa es and am really happy. Will tweak it to make the headless system perfect going forward......it is just......fun to play!

The paint job explains the project title..... This forum has taught me so much. I wanted to show yall the latest item and thank this group for all the sharing you have done over the years. -Alder body.....shape my own version as I wanted something small -neck is Sapele.....used a router bit for 95% of its shape -rosewood fingerboard from stewmac....pre slotted -black dyes veneer for head cap -two floyd nuts for headless clamping -jcustom bridge -seymore duncan pickups -push pull pot for cool tap and 3 way switch.....no cap in electronics....wired direct -shaller s locks for strap -magic marble paint for swirl........yes I know it is not perfect....but it is mine and uniquie.....and fit the theam -eastwood 2k clear in a can.....2 cans....and still not perfectly flat but good enough for me -tru oil on neck.....and lemon oil on fretboard Thanks again for all your help over the years!!!!

Sorry to get back to this late. After reading my post again........I ment 3x3 headstock. Sorry for the missed post. Those look good Chris! Any tips on construction and making sure the break angle is good? As I mentioned I am thinking about putting a Floyd rose style string retainer on the headstock. .........lastly how did you veneer? Did you make a reverse caul and clamp it?

I was thinking of doing a 6x6 non angled headstock on the next build. I am having issues finding pictures around to see if I like it or not. Does anyone know of any builders that do this so I can see it?.....or can you post some pics so I can see if I like it or not..... lastly if I do this do you have any advice on pitfalls or design tips I need to consider? I am thinking of putting a string retainer.....like on a floyd rose to make sure I have a good break angle to the tuning posts.

This is what I am going for http://www.vintageandrare.com/product/Nik-Huber-Guitars-Dolphin-II-2011-Charcoal-Burst-18539

Nice guitar!!!!! Do you think the bleaching idea would make an even greater contrast? Making sure to get most of the yellow or amber out. Or......do I try to just find a very light colored top to start with?

Hello all, I am wanting to do a charcoal burst quilted maple top like PRS does. I am wanting to know the best method to do this. The ones I like the most are the ones where the non black parts are almost white to every very light grey. It is like the wood was bleached prior to putting the black dye on it then sanded back and revealing the very light maple. I do not want to see the amber maple after sanding the black back My questions are: 1. Is this just a dye black and sand back method where you just sand the middle area and keep the edge dark for the burst effect? 2. Or....is this a diluted black dye put on, then sand back the whole top, then spray a very dark black edge burst. 3. Or....same as 2 but instead of spraying the dye on the wood you would seal the diluted black, then spray a clear with black dye in it as a toner. 4. Or.....bleach it first to take all the amber or yellow out of the maple and proceed as above by strong black and sand till I like it. Anyway again I like the jobs where there is contrast between dark patches and very light patches only using black.......very minimal amber fron the natural maple showing....with Crome hardware and white binding.....looks like a sharp looking tuxedo. Thanks for any info.

Hello all, I an going to make a les Paul type of body this go round and g Have a question regarding a type of body carve. I a Would like to use a type of raised panel type of bit. One that will have a small flat at the edge and then slope up to be even with the top. I know they exist but wanted to ask if any one hase used this method before and if so do you have any pics? I understand you have to slow the bit down foe a number of reasons and am fine with it because I have made doors with this set up. Do you have any other tips for this method? The bits are expensive and I was wanting to do some homework prior to getting one ...especially pictures or pit fall tips Thanks for any help Ps. I know this will not be a true les Paul type of a carve and am fine with that.

Do not know if you resolved this or not but.....the guys over at the reranch forum do these quite a bit. I have not doen this my self (yet) but their method is to use Mod Podg glue (sp) from the local hobby lobby. Use it to glue it on, let dry, trim the edges, use two more coats on top to start to fill the grin, go then to CA to fill the transition from fabric to wood....to get it soooth, then put a bunch of sanding sealer to get the fabric filled and flat.....then add the clear. I know that is short but if you do your search on fabric finish there it pulls up a lot of info to fill the gaps.

Beautiful guitar! Can you give me more detail on your neck pocket jig? Construcion details, how do you set it up, etc. I was thinking of making one of these as well and yous looks very simple. I see you have some writing on it. Are those measurements to get the correct angles you are looking for?

I did see this one here. Indeed it will work for me but the angle application of it has me a bit nervous. If I put the bridge under it the bearing surfacs become very small and I think the router will move too much when I use the templante bit against the template. I know not to put too much pressure against the template but it still looks like it will move a the slightest pressure if I angle it. I been thinking through it and I think I can make a modified verson of Myka's as well to get what I need....just need to find some scraps to prove the concept from what is in my head!

Hello all, I read here a while ago how to figure out what the neck angle needs to be when using a tall bridge. The method was very simple and did not need to draw anything out.....I will draw it out anyway cuz it will be good practice. The method was to put the bridge on the body in the same position it will be when finished. Put your neck pocket template on the bridge and let the template fall to sit on the body at the upper bout. This forms the exact angle you need to route the pocket. Just attach the template and route to what ever depth you need to and you are done. I thought this was a brilliant idea but I have a few issues I have not been able to work out. 1. Attahcing the template to the body set at the correct angle seems like it will be difficult to do. That is to say how do I attach it to the body and have it ridged enough to use during routing? The bearing surfaces are very small to attach double stick tape too......not a lot of surface area to keep things still. The template will be resting on the corner of the body so not a lot of area there either. 2. If the two horns are not even with each other and you raise the template to the correct angle the front of the template will try to rest on both of the horns....and the template will be at a compound angle relitive to the top of the guitar. The angle will be correct relitive to the bridge but will lean towards the side with the smaller horn. I thought of trying to build a version of David Myka's jig but that looks like it is only used for one angle. Also, I was looking for something a little simpler. So....I guess I could get the angle and cut some wedges, double stick tape them to the body and template then route away. I have to be very accurate when cutting the wedges as the angle and height of both need to be the exact same. Anyway you guys have any suggestions for a jig or method that that I could use? Something to where I can incorporate the ease of getting the angle as described above and having the template be very secure while routing the pocket. Thanks for any help. Matthew

If you go to the fisman website they have a lot of info on how to wire this pickup with others using their active onboard preamps that go with this pickup.....this includes volume controls as well. Just look around and the installiations instrucions show what you are looking for. My goal is to have a passive system that is as resistant to feedback as possiable. Passive because I do not have a lot of room to put all the controls necessary for the active systems. Minimal feedback cone pickup because in my reading I understand that resonators are feedback machines. I understand that are very hard to control under loud and or live situations. I have changed my mid on the origional pickup that I listed in the origional post....I can not fit it on the cone the way I want. So I am still searching. Edit....look at their Powerchip on the fishman website.....It is the exact thing you are looking for in your set up. You can use a master volume with it as well.

Yes the neck pickup will be magnetic. The reason I picked this piezo is because it 'claims' to not need a boost to sound good....according to the site. I was hoping to just either put in a blend pot with master volume and/or the combinations I listed above with no active preamps on the guitar.

I am going to make an electric resonator. It will be in the shape of a tele. I want to use a schattern pick up like this..... http://www.schattendesign.com/resonator.htm The RG-03 is the one I am looking at. Also I want to install a neck pick up as well. I would like to have two volume controls so I can blend them how I want. I am not sure if I want a stacked pot for the two volunmes, or two seperate posts for them, or stacked pot for both volumes and a master volume. I really depends on the room I have. There is not much area to fit electronics. Do you have any guidance for me to do this? I really do not want to use an active system due to the room situation (or lack there of). If there is a schematic that would be great. I have looked at the blend systems as well....bulky and pricy. Thanks for any info. Matthew

How are you accounting for not having a headstock angle with 3x3 tuners? Is there a special string tree that you are going to install, may be a bar like the ones used for floyds? Did you find tuners that are 3x3 with smaller posts for the longer strings? Is there something I am missing or am not seeing? I was just wondering if you were going to have nut break angle problems behind the nut with not headstock angle on a 3x3 tuner style headstock.

Well there ya go.....did not notice it got cut off .....sorry. Here is what was supposed to be there..... Hello all, I was reading a book the other day and it described how to figure out the neck pocket depth for hardtail or tele style bridges. Again these are for bridges that are not too tall and do not require a neck angle...example of bridges this would not work for is TOM type of bridges because the neck would be really high off of the body of the guitar. 1. set saddles to their lowest position 2. measure the saddle heights from the top of the saddle to the top of the guitar body....in the case of a tele bridge you would include the bridge plate thickness as well. 3. measure the total neck thickness including fret height. Do this in the center of the neck cuz that is the thickest part. 4. subtract these two measurements and that is the neck pocket depth. This means that at the lowest setting on the saddles the strings will be just resting on the fret tops and all action adjustments are up form there. Was just making sure I got the steps correct. I was also thinking you could take this concept furthur......take your planned action at the 12th fret (bottom of the string to the top of the fret distance) and multiply it by 2 and that should be the height of the saddle at the bridge to achieve this action. You can move the saddle to this height to check if the adjustment screws are in a good place....that is to say they are not sticking up too much and are uncomfortable to play. This would allow you to check different bridges to make sure they will play ok before installation. If the screws are too high then you can raise the neck pocket and calculate the new saddle height to get it where you want. I was going to do this with a tele bridge I bought to see how it came out. Please check me here and make sure this is a sane process. Thanks for the info Matthew

Bump

Hello all, I was reading a book the other day and it described how to figure out the neck pocket depth for hardtail or tele style bridges. Again these are for bridges that are not too tall and do not require a neck angle...example of bridges this would not work for is TOM type of bridges because the neck would be really high off of the body of the guitar. 1. set saddles to their lowest position 2. measure the saddle heights from the top of the saddle to the top of the guitar body....in the case of a tele bridge you would include the bridge plate thickness as well. 3. measure the total neck thickness including fret height. Do this in the center of the neck cuz that is the thickest part. 4. subtract these two measurements and that is the neck pocket depth. This means that at the lowest setting on the saddles the strings will be just resting on the fret tops and all action adjustments are up form there. Was just making sure I got the steps correct. I was also thinking you could take this concept furthur......take your planned action at the 12th fret (bottom of the string to the top of the

Try this then......do not have to be a member to view it here. http://www.mimf.com/cgi-bin/WebX?50@179.Nr...a.1@.2cb6d6d1/0

I can not figure out how to post a picture ......I will link to another forum that I posted this on so you can see it you want. The description (general) of the guitar is there as well. http://www.tdpri.com/forum/tele-home-depot...nally-done.html Thanks for all you help here!!

Well what a difference a couple of questions and 24 hrs makes!!!! I went to Lowes and picked up 3 of the Gator hook and loop 5" RO polishing pads. Then went to Auto Zone and picked up Meguires (sp) Ultimate compound and Scratch X 2.o. From a post a while back I read that the order of largest (most aggressive) grit to smallest grit (least aggressive)is....Meguires Ultra Cut, Ultimate Compound, Scratch X 2.o, then lastly Swirl X. I only went to the 2.o to see what would happen.....anyway I installed the pad on my Bosh RO sander and started with the ultimate compound....remember I only went to 3200 in the micro mesh grit...which from above is ~P900 I think. After applying the liquid to the pad, and running at the highest speed and ~3:00 min of sanding, wiped it off and what a shine!!!!! I did the entire guitar with that one pad......by the way the pad is not very well made at all, after buffing the back and front it fell off of the hook and loop sheet that was holding it onto the sander so I did the sides by hand with the pad.......After the Ultimate compound I used a cotton shirt and did the scratch X2.o by hand. I spent a total of 2 hrs doing this and I got a really great shine and gloss that I am totally happy with. A few learning’s and/or procedure check.... 1. sand between coats with 600 grit after first level with 400 on the EM6000 product 2. sand using micro mesh up to the P900 equivalent after 7 days cure time.....still go 90 degrees to every previous grit to check progress.....I can get the sheets I need in larger sizes and cut them down to cut costs on the micro mesh papers. 3. Buff with the products I listed above with a better pad on my RO sander. .....I want to find that Ultra cut and try that first and maybe also finish up with the swirl X. 4. find better cotton tee shirts......when wiping off the semi dry compound after sanding I noticed I was putting scratches back in the finish.....I guess the shirts I was using picked up dust from the garage and I was going backwards. follow up questions are........ 1. Do you know if they still sell the Ultra cut compound?......if not what would be the equivalent Meguire product in an aggressive grit? 2. Can I use a paper towel or blue shop towel to wipe off the compound to check my progress and not impart deeper scratches back into the finish? 3. This is a tele type guitar.....how do you guys handle the sides and cutaways with an RO type sander....do you just do it by hand? Thanks for all your suggestions guys.....you all have been a great help......on to assembly!!! Matthew

Hello all, I am buffing out an Em6000 finish using Micro Mesh dry and with the supplied foam block that comes with the kit. I have gotten tips on other forums to try wet sanding with it using mineral spirits but I did not have very good luck doing that. .....probably due to practice issues because I have never done wet sanding before. May be with practice it will go better. I have been using a tip that I got elsewhere to sand 90 degrees to the previous grit on every grit used and that has been working very well. I can see every scratch that I need to get out when held to a strong light so nothing is missed. I switch to a circular pattern during the last three grits. Anyway, I have finished my neck using all the grits in the kit and it looks fantastic! It is the best looking gloss I have done to date (which has not been many by the way). I really can not ask for anything better than this, I am totally pleased. The issue is it took me about 5 hrs straight to get it to look this good using all of the grits! gaah I am working on the body now and my arms are about to fall off and I am only to 1200 grit!!!! Any help would be greatly appreciated (as I can not afford any more Aleve) I understand that wet sanding is supposed to be more efficient. Providing a lubricant to a. let the paper last longer and b. help it cut better. I honestly did not notice that much difference at all when trying to sand out the previous grit using mineral spirits. I am ready to switch gears because it will be next year before I get this done. I was thinking of going two ways. (also, I do not have an arbor and this is happening in my garage) 1. Trying to get a medium and fine liquid compound locally at one of the auto stores and dedicated foam pads I can attach to a hand drill to buff the rest of the way after using the micro mesh dry up to 1000 grit. Can anyone recommend any suppliers that would have this...Auto Zone, etc. Pro- can get it tomorrow and start, con-is not exactly formulated for guitar finishing.... 2. Getting 2 foam pads from stew mac and using their medium and fine compounds after using micro mesh up to 1000. Pro-formulated for guitar, con- have to wait!!! I am not sold on going to 1000 then to medium. I can use course first if that is recommend. That has to be faster than what I am doing. I really would like to try to get some local products if I can to get started, but if there isn't any available then I will order what I need. Again the finished product is really good.....I have no complaints....it just takes forever to get there (the way I am doing it). Thanks for all the help so far guys! Matthew

Hello all, I have a mexican strat with a SSH set up. No matter what pick up I play, or what I am playing through (amp, pedle, or unplugged) I get some strange ringing or ...wolf tones above the 12 th fret on the high E string. I have checked my set up and it seems fine with no buzzing. I have also moved the bridge pick lower to see if it would help but no deal. Any ideas here.....it is really bugging me. Thanks