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Crusader last won the day on September 25

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  1. I built a Strat with an angle on the headstock, therefore no string trees. My pegs would not be the same distance apart as a Fender but nevertheless the ringing-on is terrible. While you're playing you are changing chords and moving around the fretboard, its hard to pin it down if the ringing-on is causing unwanted overtones. I'd say a bar chord would halt the problem and a locking nut I think definitely would
  2. So as I think I mentioned before I have been moving the bridge around and comparing different scale lengths. The ones I'm considering are 24 3/4 inches, 25.3 inches and 666mm. While doing this I noticed the ring-on from the string partials from the nut to the pegs. 24 3/4" and 666mm had quite a bit more so this became a deciding factor and I've decided on 25.3 inches. And after all I did design the peg spacings for that scale length Just for example, when I have it set at 24 3/4" the nut to peg length of the G string (154mm) is close to the 4th harmonic of that string. When I have the bridge set at 666mm there is quite a bit of ring-on but none of the string partials match any string's harmonic lengths. But the A string partial matches the 5th harmonic of the fourth string! Interesting 24 3/4" = 628.65mm.......628.65mm divided by four = 157.2mm which is close to 154 and causes ring-on 666mm divided by five = 133.2mm which doesn't match any of the nut to peg partials but does match the pitch of the A string 106mm There are others but they are the main ones
  3. I wonder what I can glean from this, or maybe I should just buy one and be done with it! https://guitarchimp.com/products/2003-gibson-custom-shop-les-paul-acoustic-electric-rare
  4. I was trying to get the photos to go side by side but they kept coming up all in line Glued top to body and routed binding channel Had to join the binding. I thought it was a good place to hide but discovered later you look straight at it when playing! Found a hacksaw blade the best thing to cut off excess Had to reshape the top a bit, worked out nicely In hindsight it would have been better for the joint to be the other way round, or just a square joint. I'm still holding hope that I can melt it over On previous guitars I've had trouble getting a tight tenon joint but this time I used hand tools more and I'm very happy with it. Haven't glued on yet, just held in with a screw! I just sit here looking at it. The maple has no flame in it but that swirling grain is magic
  5. I forgot some of the comments but I took too long and the ability to edit was gone! I didn't have any wide binding left except for some off-cuts so I had to join it. Its quite visible so I hope I can fix that I've always had trouble getting a good neck joint but this time I used a combination of chisel and router and got it really good
  6. I've got the body and top glued now, routed the binding channel and fitted the neck The neck is not glued in yet just held in with a screw. I'm moving the bridge around trying out different Scale Lengths to see if it makes any difference. Its a bit hard to tell with just an open G chord and plunkety plunkety fretted notes for comparison. I'm considering 24.75" 25.5" and 26.22" 26.22" is one fret longer than 24.75 so putting a capo at 1st fret is back to 24.75" Its good for tuning to Eb or even D. The trouble is it will join at the 15th fret which might be hard to get used to
  7. There's this thing I do with guitars I make, I find the balance point or centre of gravity of the body. I hang it over the edge of a bench and mark where it starts to tip, do the other way round and find the centre of the two lines. I have no idea if there is any logic in this, it just seems like a good idea. The bridge is located near this line This is my LP4 it balances at 244 and the Bridge is at 252, 8mm past With the Big Les Paul I got the top to balance at 253 and I was happy with that but the body balanced at 227mm So I reduced mass at the neck end And now the body balances at the same line as the top. I was happy with 252. Once again I have no idea if this will make any difference but it seems to me that the vibrations in the timber would be in synch with each other The back does not balance at this line and I don't know what to do about that but it's so light I think I will not worry about it
  8. That's a good way of putting it. Once I had posted the picture, etc. I knew it needed more explanation That's a good way, or you could just sand the job if you didn't want to modify the template
  9. Wow a big hollow Explorer, that would be something to behold! And by the way you want to be very careful of tear-out with that On the topic of tear-out, yes it can happen even when you are being as careful as possible. I have the same advice as Prostheta in doing shallower cuts and going in the other direction. I call it "going backwards" And another thing I do is rather than router along the line, go towards the line taking little bites (while going backwards) This might take some explanation to understand what I mean so I drew a picture... It can be painstakingly slow but its better than having a bad result. I do this then skim along the line going backwards then forwards to be sure. By the way doing this you're not actually going backwards, its going in line with the grain considering its end-grain And apart from the bit of tear-out its looking very good so far
  10. Well there was no Gladys tonight, they're all about A-bombs now....meanwhile I'm looking up Seinfeld
  11. Yes I get "Error 404" - "File not found" Well here's what's typically on my TV screen these days. The top row changes every time but the second row is always has a picture of Gladys
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