komodo

Still screwing around with this, I love doing the designing part. And here is the way my brain works - put all of this crap into a blender, and this is what I'm thinking. A guitar that you could play classic Yes on. A smaller form factor like the Turner or the Bartlett parlor. Three P90s for the grunt and the clarity. Semi hollow for the articulation, slight acousticy edge. ALL korina for the simplicity and incredible tone. I'll shelve it for now as I've got plenty of crap to do. But, it'll be waiting, and the neck through part is already done.

Annnnnd you called it. So my gonzo clear has come back to haunt me. Because I laid so much on so fast, curing looked like it went well, but sanding has started some checking from relieving stress most likely. @ScottR mentioned his technique of sanding early to help cure and then finishing out a week or two later. While that's a good idea for curing, it seems even better idea to help even curing and relieving internal stressors. I'm not worried about and checking, there are techniques to fix that, use a small brush to lay in small drips of Cellosolve and acetone to help it wick, enough to melt the crack together. What I am worried about is that solution going to the bottom of the check and spreading on the dye. Maybe if I only use the thinner with no acetone. I'll do some more research, and can try in a small area first. Also, winder if I should do it now while the bottom layers are still curing, or later when it's more stable. I'm thinking now while it's curing. Can always do more as I perfect it. LOL.

Also, today Greg Koch was doing a live Instagram thing and said he’s having some signature P90s done with Fishman. It will ‘unlock the P90’, be silent, phase switching, all the business. That sounds mighty interesting.

Yeah, I've got multiple tabs pulled up of racks. Also, I just got the idea of 'what if this was a baritone'? ahahahahah Not sure if my neck core would support that length but I'll check. Pretty sure I've got a fret board already cut anyhoo.

Ignore my demon-infested stream of consciousness ramblings. Gah, this whole "hobby" is such an addiction. My problem is that if I have wood or parts that could be guitars sitting around, it's my duty to figure out how how to bring them into the world. And, I've got quite a bit of wood and parts sitting around. No matter what I'm currently working on, this one keeps knocking. I've got three P90s, two were custom built for me and the third is a stacked that I got as the bridge position. And, I've got this korina neck-through that has a truss slot routed and carbon bars in already. My current Black Queen build was going to be a semi-hollow but I changed course. Then, I thought the korina neck would be great as a double cut LP Jr, and then as a korina V with three P90s . . . Another thing is I have an addiction to figured wood, but I always flip out when I see a super simple non-figured guitar. Like the plain maple topped LPs. As of this morning, I'm kinda forming the idea of a semi-hollow, hard tail, three P90 all korina in the range of a Blueshawk / Gibson ES-140 type deal. IDK. This has never been my style of guitar, I'm an 80s hair metal, classic rock and prog player. But, I keep thinking of a Steve Howe kinda thing. My actual real-world problem right now, is that I have NO space for any finished guitars. Seriously, I've got to sort that first.

Nope. I'm done. lol

All true! My words came off a little stronger than they were intended.

Let’s be honest, there is no second here. That thing is stunning and can’t be defined by a silly contest. Sometimes I wonder whether we should even have such things.

Updated wiring thanks to @curtisa and @mistermikev. Also, previously I was shooting my mouth off about how good I sprayed the clear and that I could almost go straight to the buffer. Well, I was correct. Ha! I started ‘leveling” with 1500 grit kn the front and had it done quickly. The ash back started at 400 but was quickly done as well. I’ll run through the rest and be done soon.

I do not! And will only try for a minute in case it’s actually a bunch of random symbols. Ha!

Wow @Prostheta, I can totally picture that. Yes intentional, didn’t want to get too close. That surface of the board still has some fat on it, it’ll be sanded down after the inlay is in to finish the radius. It’s probably 75%.

Omg every single time I see someone do this, I rethink my self-proclaimed masochism. Great job!

When it goes in, I’ll hookup the pups, and the jack ground. Thank you @curtisa and @mistermikev.

I thought this would be easier than a regular carve top, ended up being significantly harder. The way the geometry of the top curve is, it would’ve probably been easier on a huge belt sander. I started with the flap sander, and went a little crazy. Then had to slightly alter it, but it’s fine. Also took a hair off the thickness to get where I wanted it, so may have to make the pup holes deeper, but they were already a little deeper so...may come out in the wash. Too early to tell. Neck glued up great. I’ll leave it like this and finish the inlay before going further.

Congrats, and awesome video you made also!

That is a thing of beauty. Just kinda speechless looking over all of the curves. And look at that finished scrap piece at the end...

Thank you so much, clearly I was off the path. Does this look correct? Does that volume pot work as a sort of star ground? Also, I will have either copper tape or conductive paint.

I used white paste, like we used to eat in elementary school. The scarf is double stick tape. I used minimal clamp pressure on that because I didn’t want to squeeze too much tape out and create a tape starved joint.

Unsure about ground from jack. My idea with the loop was maybe a post in there as a ground point. Open to all suggestions, I really appreciate your help.

Thanks guys, I think I'm actually starting to "see" it. I'll post my version of this later and maybe you can check that I've modified it correctly to remove the second tone and solo switch. @curtisa I believe you are correct that it is Passive Treble and Bass.

LOL Carl, no wonder I slept well last night.

It’s not mine, I found it on a deep search for Red Special with three switches. Hmm that is comforting. I’m not sure what got me questioning it. I’m nearly electronically illiterate, even though I’ve refurbed a couple amps, and built several pedals. It’s just not intuitive to me in any way. Can you explain the signal path? Maybe I don’t understand how these switches work.

We’ve got another “sublime back” scenario happening. I agree with everything @ScottR said.

clamp forest

So, I'm building this, which uses one volume, one regular tone, and three mini switches. My goal was a simpler Brian May switching, with on/on/on switches resulting in phase/off/phase. And was using the attached diagram but with one regular tone and no solo switch. My electronics knowledge is crap, and generally rely on diagrams where I can follow along. I get the general idea, but if we stray from the path I'm lost. My goals here are to: 1) have it wired in SERIES, 2) ability to individually switch on/off each pickup, 3) have phase options. Do not really want or need any series/parallel switching. I understand the redundancy of having each switch phase, where there is then a lot of overlap. I'm totally open to maybe only one or two phase if it's opens options or makes it simpler. At this point I'm hoping someone can walk me through it, I've looked at a million related on the web but nothing the same. Pups are two wire. My current minis are on-on-on but I can get whatever I need to make it work. Red-Special-Wiring-On-On-On-Toggle-Switch-solo-switch.pdf