ScottR

You mean verbally? SR

Really? I'll look forward to hearing from her! SR

So you have nothing against bass guitars, just bass players? It does look cool. I like the bocote transition. I first wondered why you didn't sand it flush after that fillet, then I noticed that the Padauk neck would show. That would probably just look like an exposed neck joint wishing it had a top to cover it. I think you took the best option. SR

Interesting transition from fretboard to top, have you done that before? SR

Welcome Dan, from another old guy. SR

BD, the times I've seen that have always been high humidity days. It did seem worse in the areas with the heaviest coats. It was my impression it was the humidity in the ambient air as opposed to the line air that was causing the problem....but that was just the impression I got. Sorry this is not an answer, but it is a confirmation of similar results in similar conditions. SR

Those are definitely advantages. The Schaller has a similar profile height, but it is not as smooth. And the saddles lock with one screw, instead of the six allen heads. But the rollers do not lock, so you can change the spacing by accident, and it also springs so the noise issue would be there as well. Head to head the ABM would come out on top. But supply issues suck. I have to deal with those on my day job....I don't have much patience for that particular problem. That would turn into a good excuse to try something new. SR

That can be done with this, I would think. You could pour a thin layer of resin into the bottom of the cavity, then a layer of the sparkle flake, then another layer of resin. Or did they inlay sheets of the sparkle/resin that had been made before hand? SR

I agree with your finishing sentiments, watching a board turn into a work of art is like watching creation itself. I do wish I could get Rustin's here in the states. SR

The bridge is nice, it's built like a tank (to quote you), it looks good, and it's comfortable to rest the heel of your hand on. The only bridges that I can personally make a comparison to it are a TOM and a Schaller non-trem roller bridge. The only thing I like about TOMs are the classic looks. The Schaller has one more adjustment--string spacing-- and the saddle height and intonation adjustments are easier to make than on the ABM. But the Schaller is not string through and not as comfortable against your heel as the ABM. And while the Scaller is pretty well built, it is probably not as solid as the ABM. I'll certainly use it again. SR

Did they use something like that on the old Ricks? I didn't know that. Wood carvers like to use this- often with the turquoise chips - to fill voids in carvings and turnings. I used some a few years ago in the Hook Custom for the signature and thumb markers. It's fairly easy ro use and polishes up nicely. SR

How many to go? SR

This came out great - as usual DX. The smoky cavity cover works very well with the black back. What pups did you put in it? SR

Nice routing job. You might take a look at some of this for the fill: http://www.inlaceonline.com/text/products/kits.html SR

I'm glad you like it sir. Now if I could only figure out how to take a picture of it.......and only it. SR

I'll say. It bloody came right to life, it did. SR

B.B.Red .....so named for its relationship to two colors inherent in this guitar--the blues and red--and because those are my mom's initials as well. Body - Spanish Cedar with a maple top Neck - Jatoba with an ebony fingerboard and headplate Scale - 25" Radius - 14" Trussrod - Allied Luthiery Tuners - Gotoh 510 Deltas - 21:1 Nut - Bone Frets - Jumbo stainless steel Pickups- Custom PAFs from Guitar Logistics (RAD) A4s Bridge - ABM Electronics - 3-way, vol, tone Build thread: http://projectguitar...showtopic=46258 SR

You've never seen those anti-gravity stands before? SR

Thanks Mike and Mac. Thanks Muzz. You've got to get down in the dirt to get those worm's eye views. The comment has been made that these aren't pictures of a guitar, but rather pictures of everything in front of the guitar. I 've got to admit I was shocked to see how many times I showed up in the shot. I sure didn't notice all the reflections in the viewfinder. It does have a carnival funhouse mirror thing going on. SR

This is looking very clean. Are you going to add any bursts or special treatments or is this going to be a straight up red guitar? SR

It will. Fill the void early in your sanding process. As you go through the grits, you'll level the epoxy and sand past any penetration it had into your wood, leaving it ready to suck up some Danish oil. If you use an epoxy with an amber resin, any stray bit that hung up in a pore will look just like your Danish oil and won't be noticable at all. SR

What he said! SR

Wow. That came a long ways. I like the sound hole layout, but I think you need to color the inside edges of the holes. The one shot of the back when it was still bare wood looked especially cool. That neck join gave it an organic alien life form type look. SR

+1 Additionally, it will be much easier to level the epoxy without having to worry about scratching up your finish. SR

I pretty familiar with that system and it's forearm pumping tendancies. My **** nature makes me mark the surfaces a couple of more times to insure I didn't cup the areas that had the lines already sanded off. I also experimented over the last couple of builds. My first couple I used 60 grit and stopped there. I was thinking that the coarseness would improve the bond strength and the slightly fuzzy edges would hide the glue line better. On my last build I went on through several grits stopping at 150. (It's not as much work as it sounds like after you've flattened it with the 60). My thinking this time was the glue bond would be fine with 150 grade scratches and the normal wood pores. And I thought that the 150 would leave cleaner, sharper edges and end up with a cleaner less visible glue line. I have heard arguments championing both the fuzzier edges and the sharper edges as doing the best job of hideing glue lines. The 150 worked best for me, but that could still be due to other factors, like getting better at truing the surfaces or having used a better distribution of clamps. I would be curious to hear other philosophies on the best grade to go with to achieve the cleanest glue lines. SR