Andyjr1515

Just spotted this has moved....I'll repeat this in the right section 

Hi

That's quite a deep colour for maple (lovely, by the way!).  

If it was me, I'd probably go lighter for the back...something like alder.  The alternative would be something very dark.  I think sapele or mahogany would probably be too small a contrast. 

Love the back of that headstock and the scarfe joint.  Sooooo neat 

That's looking really impressive....

5 hours ago, Prostheta said:

Just red ink and no darker sandback? Wow, that really makes more than a passing case for using inks then.

No - just did the normal ink, sand, ink.  I think I did that 3 times to darken the figuring.  The ink soaks in very easily into any end grain in the features so darkens very quickly in those areas.  Of course, for a more even colour all round, that can be a disadvantage because I can't think of any way to prevent the darkening. 

1 hour ago, gpcustomguitars said:

I'll post another pic, stating the usual state of things on my desk that pic was taken right after I cleaned the table following a repair that involved some sanding, and I couldn't find my chamfering file, so I was forced to clear the table It's now back to my usual creative mess.

 

  Phew!

Thanks ref the SG.  Yes, it's a figured maple top.  I used red calligraphy ink on this one and then wiped-on standard polyurethane varnish, thinned down with c 30% mineral spirits (I've done a mini thread on this technique in the Inlays and Finishing section)

There's been some interesting debate and experiments manfully carried out by @Norris elsewhere in that section on the colour fastness of inks.  They do vary a lot, but I think calligraphy ink, meant to be still be able to be read 1000 years or so later  (think: Lindisfarne Gospels) is probably OK!    Certainly this one (built for a fellow band-member) and used in our band practice last night still looks the same as when I built it 

2 minutes ago, Prostheta said:

Well, if you're anything like me then when you're in the zone you do everything 400% right? No point in dipping your toes into the water unless you're just figuring out how warm it is.

Yes - I get into lemming mode...I run faster and faster, with an urgency spurred on by the suspicion that oblivion is surely just around the corner.  And probably speeding up that conclusion in the process 

This is a great thread!  Drilling out the hole for the Jack can be a real pain.  I use a stepped drill if I can.  Also a spade drill, but those are a bit vicious at times.  I'd be interested what other people use.

Lovely

That SG looks a really nice canvas to do some great things with, @gpcustomguitars

On the one I built, I took the tenon one stage further :

Tarrraaahhh! 

By the way, I'm mightily impressed with your workspace.  And my wife is even more impressed with it's tidiness....along the lines of "Well, HE can keep his tidy, so why can't YOU??"

I'll be really interested how this build comes out 

Fascinating stuff 

ive got a travel sized multi scale acoustic on the back burner.  There are a number of useful tips and pointers here - thanks!

Andy

Nice neck, very nicely excecuted 

I've just read this build from beginning to end.  Some inspiring stuff here 

We've all made similar errors in cutting.  A couple of builds ago, I cut a beautiful ebony fretboard  3/4" too short.  To this day I don't know why or how!

  Is there any possibility of adding a couple of contrasting strips and give it the laminated look?

1 hour ago, ScottR said:

The veneered pups are cool. I'm looking forward to seeing those mounted.

SR

Me too - these are fantastic looking builds... 

20 minutes ago, Prostheta said:

Goddamnit, you make me feel lazy.

Nah....I think it's me...MrsAndyjr1515 thinks I'm slightly (SLIGHTLY?! she says) bonkers...

Something I do at this stage, particularly with soft woods, is pop on a protective coat of thinned varnish.  It will all get sanded off before the finishing, but I find it helps reduce score marks, etc , when you are handling and machining it for the various processes.  It also gives a reasonable idea of what the colour's going to turn out like:

The top will end a couple of shades darker than this, but this will be the overall 'vibe':

Closed and trimmed, the body is now ready for the binding and purfling (that I haven't ordered yet  ).  

Here's what it's looking like:

So next job is to move onto the neck.  I've already joined the mahogany and walnut, using my usual trick of offsetting the walnut to save having to rout a slot.  It also helps me get a positive datum early on.

The other thing that will probably take me as long as the build itself, is that I've ordered the materials to convert an old small B&D Workmate into an acoustic neck and body routing jig.  It steals ideas from the LMII rig, but is a bit simpler in construction and will literally bolt on instead of the (now pretty wrecked) existing work surfaces.  I might try and incorporate some other guitar-building features to convert it into a luthier specialist bit of kit.  I'll keep you posted if that all works and quietly drop the topic if it doesn't 

I've checked, and double checked and triple checked that everything than needs to be done before the back goes on has indeed been done.  

With fingers well and truly crossed, it's too late if I've missed something :

1 hour ago, Prostheta said:

For somebody who presents themselves more as an "enthusiast", you're very industrious and productive Andy. Whether you think of yourself in this way or not, you genuinely have a rich seam of talent and don't do things by halves. Few are far between.

Flattery will, of course, get you everywhere 

I do very much class myself as an enthusiast and hobbyist.  It keeps the pressure off and ends up being much more fun than if I was trying to make any money out of this crazy pastime.  And - with such fantastic products available for such crazy low prices nowadays - I long ago realised that it could only ever be just a hobby!

My secret weapon is that I retired from a bonkers-busy international job last year and have time available now that I could barely imagine in my previous life.  It doesn't half allow things to accelerate!  With the occasional paying commission, if I can break-even - or even just offset the cost a little - it certainly isn't as expensive as taking up golf  (cue: "What's your handicap?" "My inability to hit the ball!")

I'm also in awe of the amount of freely given information and time and resources on the internet in places like this.  Seems rude not to take advantage of it all!  

Pretty close to closing the box - probably take the plunge this evening.  I'm sure there is more whittling that could be done, but it is more important that - for this build - I have a complete guitar to present to our vocalist rather than getting any more harmonics.

The tips that Chris gave me made a tangible difference to the sound.  This is it almost ready to close:

...and the back now has the all important label 

Once the back is on, I'll trim the sides and start on the binding and purfling 

Andy

I got pretty much straight onto it.  

I triangled up (new verb) the main X-braces and scalloped them both behind the join, with the bass side scalloped a little deeper than the treble.  I also took a little more out of the scallops at the ends of one or two of the bass braces.

It's made a BIG difference   

I've now fully got the bass treble differentiation - it sounds more like two tones from bongo's now rather than one mush.  There is probably a 5 semitone difference of the root note tapping the bass vs the treble halves of the lower bout.  More importantly, the harmonics are ringing loud and varied wherever it is tapped.  Pleasingly, they are at their loudest and most complex when you tap above the bridge plate.

I probably could go a little further, but I've learnt over the past couple of years that quite an important skill in this game is knowing when to stop, based on prevailing skill and experience and result.  For me, at this stage in my learning curve, this is the point to stop!

I still have the back braces to finish shaping, which I will do tomorrow, and then the label will be stuck in and the back will be closed 

Thanks again for your help, @verhoevenc and thanks also to @Prostheta for pointing Chris my way 

Andy 

The other thing I'd missed, Chris, was scalloping the main X-braces in the lower bout!  Not sure why, because I certainly did with the OM!  Those two changes will make a big difference 

Thanks again @verhoevenc 

Andy

Hi, Chris

Hugely helpful . Thank you so much!

 Yes - I have put the bridge plate on now, and also the slightly controversial tiny sliver of spruce across the X-brace join.

 There's plenty of ringing of various pitches so I think I'm at least 'in the zone'.  The one thing that I don't think I have as much as my previous OM is the unmistakable bass/treble difference.  Your suggestions, especially ref the triangularity are enormously helpful.  I'll have a go tomorrow.  Quite exciting because I'm getting very close to closing the box time....

I'll let you know how it goes . 

By the way, what's your take on the X-brace cap?  Views seem to vary between 'the most important ounce of wood in the entire guitar' through to 'you hear what you want to hear'...

Andy

What an amazing transformation 

I (almost) promise this is the last final end finale fin terminus ultimate post of the saga.  This is the bass in action in Trafalgar Square in London:

...and, if I've sorted the technology out properly, this is the YouTube video of part of the event

Thanks y'all 

Andy