birch

I did but I was concerned with interference with the bridge tuners. Now I'm thinking it's still a better option than the current one

Started body contouring and tried a mounting location for the output jack. I'm not really happy with that but the body is so narrow it doesn't provide many options. I'll probably widen it next time

Thanks, I definitely seem to prefer organic type designs. Although I like pointy guitars too, particularly the Warlock and V.

I wanted to try a baritone guitar and decided to go with a batch approach since there was so much waiting for supplies to arrive and glue to dry on my first build. I'm using Autodesk Graphic for the plans. It's a nice simple vector program and so far I like working with it. They are all right handers oriented upside down on the screen. I'm not sure why I work upside down...

Got the mahogany and corian epoxied and the neck and bridge mounted. Next up is making a nut and figuring out just where to put the output jack...

Little bit of progress on one of them... Getting ready to drill holes for the neck bolts so I can epoxy the mahogany to the corian and start shaping the body. It's currently 29 1/2" long end to end.

Finally made some progress on two headless travel guitars. Mahogany body channeled for the corian, swimming pool rout for lightening (corian is heavy) and all electronics mounted on a pickguard. 30" total length for the narrow body and 31" for the other one. It's possible that the corian strip is overkill but hopefully it will work like I'm hoping it will. Lots of routing and carving to go yet...

I used to travel quite a bit for work between significant humidity changes and besides the bulk of hauling around a full size LP copy, it seemed like I was constantly adjusting my guitar every time I went somewhere new. I looked at plenty of travel guitars but most of them are short scale and would still be subject to humidity changes. So I'm experimenting with making a stable full scale but small as possible travel guitar using a Moses graphite neck and headless bridge bolted to a corian strip. The wings of the body will be some sort of wood (I haven't decided yet) with a swimming pool route and pick guard. Corian is seriously heavy so the body will be heavily carved and as thin as I can get away with. So thats the plan anyway...

I'll throw my hat into the ring with my first ever guitar build. The build thread is here: My first full build from scratch I decided to build a guitar as my entry into the world of working with wood. I have worked with metal most of my life modifying cars for myself and friends. Wood is a new medium for me and through this guitar I have discovered I really enjoy working with it. I have turned my garage into a fairly well appointed small budget wood shop, where most of the work takes place. Anyway, on to the guitar, which I have dubbed "Slowburn" Neck: 1 piece Flamed Maple Set neck through the back 25" scale, 24 fret Flamed Maple fretboard with Zero fret using Stewmac medium fretwork and wheel adjust truss rod Paduk head stock veneer Sperzal Nickel Locking tuners Body: Chambered Mahogany, Padkuk and Birch veneer back Carved Paduk cap with flame shaped F-hole, chambered to match the back Ebony Pickup ring Electronics: Lace Alumitone Deathbucker in bridge position 1 Volume, 1 Spin-o-split coil splitting pot, 1 Push/Push Hi-cut, Lo-cut Tone pot Tele style jack Hardware: Graphtech Nickel Wraparound bridge Knurled Chrome knobs

I don't know if that would work on acrylic but it might be worth a try. Personally I would mask everything but the headstock face, scuff it, make sure any ridge is gone and give it a couple light coats to seal things up. Shouldn't take much material to fill and cover the pinholes. Or just leave it, it doesn't look like a huge deal.

The rattle cans put a lot of material down really fast and it tends to create a thicker ridge on edges of flat surfaces, something to do with surface tension in liquids I believe... High humidity does increase the drying time though so it could have just extended the flash time a little longer than the normal recoat window. Rattle cans are convenient when you're just doing a project or two but you can't beat the control of an hvlp spray setup. They are expensive initially however...

Pinholes, I've had the same problem with acrylic when I've sprayed the next coat too soon after ther previous coat. The coat underneath keeps off gassing after the second coat skins over. It seems to stick mostly to edges where wet finish tends to pool thicker than the rest of the flat areas. That's probably not the only cause but I cured it by leaving subsequent coats until the very end of the flash window to give the early coats as much time to flash as possible.

Very nice finish. All the sore muscles pays off in the end. I can't stand the leveling stage. My wife thinks sanding is a great zen activity, I disagree.

This is not me playing, this is my good friend James making my guitar sound like a million dollars. He did it with a defective volume pot that caused the signal to cut in and out randomly. It was also recorded on my iPhone mic.

One problem solved, the fret buzz was because I didn't cut the nut slots deep enough and the strings were buzzing off the zero fret.