theodoropoulos

Just make sure that the decal you use will not react with whatever product you are spraying with.

I use solvent paints (automotive 2k) and vinyl decals without a problem, but you really want to make sure before you make a mess.

well yes,i could seal it with something i guess

Spray some sealer on, put down the decal, and then spray your clear coats over it. You can still sand it, just be careful not to go through the clear.

what grid do you suggest for sanding??

i try for first time to put my own decal in the guitar and i have a major question..Should i put it before the spraying with sealer or after??i ask this because if i place it before,after spraying ,i must not sand this area or sand it with steelwool..What would you suggest??

thank you in advance!!

I would appreciate if you could help me with this diagramm..i cannot finfit in official duncan site

3 pick ups/3way Leveler switch /1 volume only....

thanks in advance!!

i would like to make a question about the dark colours in the outer periphery of the guitar...

the colour sprayed is a)pigment dissolved in solvent?? OR b)pigment in laquer????

and if i spray it ,can i sand it to move to the next stage or by sanding the "borders"of the colour will become fuzzy???

First, look at the sunburst tutorials in the "finish and inlay tutorials section".

Sanding between colors will make a mess of the fading of one color to the next. There is a progression of color you need to follow and no sanding in between them. They must blend together using a fading technique as toners.

MK

thanks a lot!

i would like to make a question about the dark colours in the outer periphery of the guitar...

the colour sprayed is a)pigment dissolved in solvent?? OR b)pigment in laquer????

and if i spray it ,can i sand it to move to the next stage or by sanding the "borders"of the colour will become fuzzy???

His action is a lot higher, which means dead spots will not show themselves. !

as far as the things you said i agree....but what is the connection with the dead spots??trere are 2 different things,,,completely..do you mean buzzing???

thank you guys!!your opinions are important for me!!

i just wanted to ask some opinion here about the fret leveling..Do you level always,or if you see that there are not even at some areas probably??i put my frets with press machine..should i first check before starting leveling???

Saying "cherry" though,,, what TYPE of cherry is it? There are hundreds of varieties of cherry trees.

well,i dont know where it comes from .i believe Europe...It has this pinky ,skiny ,colour....

I agree with Wez- padauk has a great tone. In fact, I think adding a 'toneblock' to padauk would be like adding a nitrous kit to a missle. You could do it, but I don't think it would do a whole lot.

Cherry, on the other hand, could definitely benefit from chambering as well as a 'toneblock' of some sort. Anything that might add bass frequencies to the acoustic quality of the build would be good.

well,i wont add it to padauk!!!

as far as cherry concerns,what sound qualities does it have??tremble or mids??

dont get me wrong, i quite like the sound of a rosewood guitar by itself, like the fender rosewood tele's for instance

but how well does that tone actually work when competing with drums, cymbals and bass? rosewood can be quite warm, and if not careful is easier to lose in the mix than paduak with its poweful mids

ok.i think i you convinced me about Padauk....hahha..well probably cherry needs rosewood,or will it work itself well???

i have read that alder is the substite of cherry....haha..i need the oposite...so??leave alove the cherry as well??

if your aim is to tame the brightness of paduak then i dont think rosewood would be the way to go. tbh, chambering it will do a fair amount anyway... but i would go for alder or mahogany

imho paduak sounds awesome as it is. It does have a fair amount of high mids but this is really useful in a band situation. i wouldnt call it bright either, its a good complex tone all by itself

i would recommend making a guitar or two out of paduak and/or rosewood before you start guessing what the combination of the two might be. But i would say, as a guide that a solid paduak guitar is a lot mroe usable than a solid rosewood guitar

ok,i will think of it very much...but why you say so about a solid rosewood guitar???why isn't is so usable???

my second guitar will be a strato out of cherry....Shall i try the toneblock there???

well,

i have in my mind the excellent tone of rosewoods.on the othe side i have not worked with padauk body again...I think its going to be bright so i wanted to add some more overall frequencies..I intend to make the body chambered,so there will be much less wood,as far as the weight concerns....correct me if i am wrong,please!!

i am planning to put an indian rosewood toneblock in a padauk body....But i have no idea about the depth i must go..the wood is heavy and i dont think i must go over 2cm ..what do you think?

thanks in advance!!

i have seen 2 ways to do it...but i cannot find the pics:

1)secure the drilling table such as this

with an angle,secure the guitar and drill

2)put a piece of wood above the hole you intend to drill,and drill together 2 pieces with the desired angle...be carefull with the depth....

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

a hinged neck. Sweet. I'm doing one on a box-guitar right now. The paintjob with markers looks good.

thanks..its not markers..its normal spray job with mineral suspended in water....the mineral then is sprayed with oxides..and then finished....mat in my case,with wax

this project is just for fun and only cause i wanted to feel the scalloped neck!!!the story goes like this:

i had an ibanex rx-40

i got rid off the black colour and used Sculpt Nouveaou patinas to have this oxide colour.The pickguard is also oxidezed iron..i used a floyd rose from my BC rich and only one single coil without even pots!!

i made an experiment also ...i made a conversion in the neck pocket and with the screw i managed to have any angle i want..So i could add even a tune-o-matic bridge!!!

i used a hinger between the neck pocket and the neck as you can see!

and of course i scalloped the neck VERY ROUGH in order to feel the gap!!

this project is just for fun!!!!!!!

I love people who argue tone and sustain when it comes to wood choices....

Love being wrong,do you?

Unfortunately for me,other people's inability to hear tonal differences in different types of woods is not amusing...I just wish you could hear properly.

Ι really love this!!hahaha..it's the same argueing about food's taste:i like this food-i hate this food!!

you know there are Analysis Fourier software which shows really the distribution of frequencies!!It would be more objectiv that the personal'taste of everybody!!

I think you might like the Mulberry you mentioned in another post.

The red mulberry we have here in the states is not nearly as hard as cherry.

I assume what you have is black mulberry, but I think it would be similar.

haha,black mulberry is something we name here for the mulberry which has turned from yellow to deep chocolate brown...THis is a sign of aged wood,which means it will resonate but not in so high frequencies as yellow one...I am deeply confused!!haha..dont know what to use now!!!!! :D

I did a fret board on A cheapie guitar once I just ran a piece of tape down the side of The fret Board to gauge my depth. I used a couple of rasps and sand paper wraped around what ever. I would recommend doing it by hand forget the power tools a rasp will knock out the bulk quick enough then is all hand work either way. Really it took longer to work through the fine grits and than it did to do the bulk. Btw it turned out much better than I ever expected except I figured out real quick o don't liked scalloped frets. It was fun though.

That's all I have to add.

you know, I AM IN LOVE WITH MALMSTEEN.I have studied this amazing vibrato he works and found that it was too difficult for me to do it..So i though to make a scalloped one..I just did a very one rough one,and i am very excited with it...I have not connected with pickus yet.just unplugged..but i confess it's much more difficult...but i love it!!it looks really cool....!!!how long did it take you to do it???

Basswood and poplar also have a pretty even, balanced tone that would work as a decent alder substitute. There are probably several other kinds out there as well.

You know i had an idea....I read a lot about toneblocks..

see the pic

http://elderly.com/images/new_instruments/30N/MM25AV_body-chamber.jpg

I could probably use an alder substitute as body wood and add an indian rosewood toneblock for reacher sound...So,what do you think??

Ripthorn is dead on...very much like maple but even brighter in my experience...not a good substitute for alder,but a cherry strat or tele would give some serious snap....do not even consider it for high gain stuff...my ears still hurt from my last cherry super strat

......hmmmmm....i was thinking for my Yngwie Malmsteen scalloped guitar....i have no alder unfortunately....So what could i use?????i have some other alternatives woods...

Cherry (at least American Black Cherry) is best described as having tonal qualities similar to maple. Alder is very balanced without as many highs as cherry. Of course, depends on the piece and, due to the design of the strat, the material choice is somewhat less important than other designs (not trying to start a war, it's just that having your pickups mounted to a pickguard made of flimsy material which is then mounted to the body, it will negate *some* of the tonal factors of the wood). I would say go for it and tell us how it works out.

that's a very correct point of view....thanks!!i 'll think of it very seriously!!