ScottR

Mockups are mockups. When instruments get taken into their final shaping, the details and finer elements of formed are then incorporated. I use CAD a hell of a lot but when it comes down to it, you can't easily substitute hand shaping and finessing with a simple computer model. Same as neck profiles, cutaways and shaping carves....seeing how light plays over curves makes a big difference....

I have enough trust in Hoogle's abilities based on his previous builds to pull some nice instruments out of this.

Go go go.

Tru dat.

I'm a believer. I built a git with a similar shape although the curves were balanced to my taste....and it came in second in GOTM to a Hoog built git. When all is said and done he makes beautiful instruments.

I really like the designs of Henri's guitars that he has shown so far. They are well balanced and flow nicely. And I've seen a number of AF's guitars on here over the years and they've all been stunning.

There's no accounting for taste, there are innumerable concepts of beauty....and ain't that a wonderful thing!

SR

Mike, if you are very patient with your clean up work on this, you have a shot at making this one of your most balanced, visually successful designs yet. Artistically, you've got a nicely flowing body shape going. You need to work on the treble side bevel, elongate it down towards the lower point and it will complement the beveled curve on the bass side better.

This is getting interesting. Keep it up.

SR

Scott, how about a carving of you dog?

Sorry about the possible hijack.

It could happen. If the wood tells me that Coop's in there, I'll have to let him out.

SR

I like the way you're leaning. Ash dyed black with even blacker pores might look cool.

SR

There will be black sadels on the chrome bridge plate & black face on the headstock, so im thinking I might blacken the pup rings. The pickups will be nickle & so will the vol/tone knobs & switch tip.

Good color combo, methinks. Too bad you don't have any scrap from that fretboard--pup rings out of that would go nicely as well.

SR

Idea never even crossed my mind. But then the whole idea with these versions is that they are fairly plain to look at. Sedate in appearance, but a tonal monster.

I do another one with a similar shape that has a figured maple top, set neck, Binding bla bla. built like a les paul . The rosewood might be an option there.

But then with all the crap with customs I dont think id be risking it. Im OK with the boards I have as they are all purchased as finished products & I have all the paperwork I need to get them into the USA sorted. But Rosewood as a "raw material" is something I want to dodge for the moment.

BTW, anything comin up from you in the near future ? Guitar builds ? Bears ?

Yeah, I've got an idea brewing in my brain for a guitar that I think I'll get started on in the next few weeks and then maybe it's time for another carving.

Probably something other than a bear......but I don't know just what yet. I reckon I'll have to pick the piece of wood and stare at it for a while, 'til it tells me what it wants to be.

SR

I am also worried about the strength of the neck joint on this one... when I get done there will be an obvious weak spot on the heel.

I disagree. With that long tenon sandwiched between the body and top, you could get away with no heel and still have plenty of strength.

SR

I salute those choices.

SR

I suspect that you will have to point out your neck "flaws" before anyone sees them when this is completed. The rest of the build will completely overshadow them.

SR

Thanks SR.

I thought the pictures showing the stain and the worm hole did a good job showing the flaws...

The other flaw is were the jointer bit the neck and chipped some wood near the bottom edge of the fretboard surface. I used epoxy to glue the board on and it filled the small gaps very well. So If you look close you can see a few small gaps between the fretboard and the neck near the 12th fret on the treble side.

Oh you captured them well enough.

Your culls will still be many notches above mainstream stuff. I predict someone will beg you for this and you'll end up being faced with the decision of wheather or not to let something not wuite up to your standards out of your sight.

SR

I'm remembering all the grief I caught for building such a dark guitar. Yours reminds me of an ice cream sandwich when you can see some of the sides. It's going to be spectacular! Have you made hardware choices (chrome, black, cream)? I can't remember if you said on the first page and it was so long ago.

Nice inclusion of the CNC in the shots too.

SR

I suspect that you will have to point out your neck "flaws" before anyone sees them when this is completed. The rest of the build will completely overshadow them.

SR

There will be black sadels on the chrome bridge plate & black face on the headstock, so im thinking I might blacken the pup rings. The pickups will be nickle & so will the vol/tone knobs & switch tip.

Good color combo, methinks. Too bad you don't have any scrap from that fretboard--pup rings out of that would go nicely as well.

SR

Make sure you leave enough room between the heads to tune one without de-tuning the other.

SR

1) Should I just keep on trying to pencil in the cutout until I'm happy with how it looks then modify/sand until it actually fits on the guitar itself? Or;

2) Should I just cut it as-is and use a file & sandpaper to just take as much (or as little) as it needs to feel ergonomic up & down the neck?

Either way will work. I typically use game plan #2. One thing you don't need to worry about: with that template (in either form) it will alway look like an LP from the front as the fretboard will hide any contouring you do from that view point. Avengers did an LP with a contoured neck join a couple of years ago. You might still be able to find it with some digging. It may have been his LP junior.

Looking forward to see how this comes out. Good luck....both with the build and the addition to your family.

Scott

The set I had RAD make for me was wired to vintage specs, and then to make the bridge a little hotter he "gave it a few extra wraps". I love them. For my tastes, the tone is perfect.

SR

I'm not aware of any tutorial, but here is a link to the thread to that build: http://projectguitar.ibforums.com/index.php?showtopic=44623

In short, draw out your body shape without a tongue or hump to accept the neck heel. Route your neck pocket and set the neck when you are at that stage of the build. Then blend the heel into your neck carve and the body. Once you get it shaped fairly close to what you think is good, grip it like you're playing the highest fret and test the feel. Any place it streches your hand or presses more than other areas, carve a little more away. Use a rasp and course sandpaper wrapped around a dowel to blend it from the body shape to the neck carve. When it feels comfortable and looks good, start your finish sanding. Mine has a healthy scoop carved into the cutaway on the front side as well the bevel on the back. They both add to comfort and ease of access and are blended into the neck - body join.

SR

I clamp my portable by the handle up side down in my bench vise. Makes for a quick mount - quick release setup. I use it that way at least as much as hand held.

Have fun!

SR

It bears repeating.

Outstanding job.....outstanding job......outstanding job.......outstanding job......

How does it sound? do you like the P-90s?

SR

Highly reflective, I think we got a tour of your place in the reflections. Looks like the Christmas tree is up. Did you polish through tip of the treble horn?

SR

I couldn't see it either. I couldn't decide if I was blind or if Pros was pushing your buttons.

SR

Very interesting effect. I certainly looks like oxidized copper and bronze. It even has a metallic sheen. It makes me think of some of the processes NotYou would do, which is a high complement.

SR

i owe a big favour to my friend Scott Walker who has helped me the most he could to understand the whole procedure...

take a look at this masterpiece....

scott walker guitars

I actually like yours better. This is not something that would normally appeal to me, but on yours the color patterns look very good, even planned, plus you get the patina of oxidized metal. I'm looking forward to seeing the finished product.

Nice job.

SR

View PostScottR, on 10 December 2011 - 06:55 PM, said:

.....and sooooo beyond what us mere mortals can do.

Nonsense! With a steady hand, that could easily be done with a scrollsaw. I don't have any shell to works with, but still.....

Yeah, but who accused you of being a mere mortal?

SR

That mock up is almost exactly what I was seeing in my head...with maybe just a hint of the honey gold in the middle.

My other concern is that - as this is my last build - I don't want to buy a ton of dye I'll never use again. I like the look of the water soluble aniline dyes from LMII. Could I achieve a decent burst with just, say, amber and red, or amber and brown? I think the amber very thinned could be almost a yellow, through to almost orange at stronger concentration, then a red or brown could pick it there.

hmmm...

lots to think about.

I think your ideas about concentrations are spot on. Check out Andy's GOTM entrant for this month. He says in his thread that his burst was all wipe on dyes.

Lastly....never say never. This stuff is addictive. I barely play, already have two, have no concept of sales.......and the urge to build another is growing stronger every day.

SR

Very interesting effect. I certainly looks like oxidized copper and bronze. It even has a metallic sheen. It makes me think of some of the processes NotYou would do, which is a high complement.

SR

Man, your finishes keep getting better and better.

This is very very nice.

SR

Actually those colors are exactly what I'm seeing as well. Honeyburst....yeah. I'm thinking a nice honey colored amber in the middle...or the shade of a nice ale with a burst around the edges the shade of a good Irish red. That wood in the top looks so good and it want to retain a little of its identity, at least that's what it's saying to me. I see lines of bubbles rising from the bottom of a glass of beer in the grain and spalt patterns as well. A burst of dark reddish amber (like an Irish red) would tie in nicely with the Padouk stripes in your neck.

SR