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Original

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Original last won the day on January 1 2017

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About Original

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  1. Nice carve! I've always loved walnut and maple together. How thick is the body on this one?
  2. @Skyjerk, "22 Special" Super Nice! The absolute attention to detail is very obvious. It's definitely a masterpiece. @Viktor, "Telecaster Texas Spirit" I can only imagine the amount of time, and careful woodwork that went into this. "Art Guitars" almost need a category of their own. This one is a beautiful example of the merging of design, craftsmanship, and music. Well Done! @KnightroExpress, "Voyager 6" The incredibly clean lines of your work, along with original design are always eye catching. I love the understated elegance. You achieve it like a master.
  3. Thanks Tim, The red guitar was self indulgence, and I dig the way it turned out. It's inspired me to do another 'bolt on'. I've glued up, and cut out an Alder body for a Duo-Sonic. It's small and lightweight compared to the red one. I started work on a two piece neck for this one. It'll be a simple project. I've never done a metallic finish. This one will be sonic blue. Another one that I've started this winter is a parlor sized electric. Mahogany body, and neck, Cedar top, Rosewood fingerboard. 24.75 scale. I've seen these growing in popularity, so I thought I would give one my spi
  4. Moving right along... I always liked the Squier '51's They were a neat little guitar for the price, and I really missed the one I had, after selling it. I had this Ash Strat shaped body, and Pau Ferro Tele Shaped neck blank sitting around for a long time. There's not too much to talk about on this one. It's about as basic as they get construction wise, There's only a few pieces of wood involved. It's the first 'bolt on' that I've built in over ten years, so it was about time I guess. I love the way the neck turned out. Anyone familiar with me knows that I like doing one piece necks. I've
  5. Hello Everyone. I haven't posted in a while, I spent most of the summer on the road, and didn't get back into building until late this fall. I finished a couple of DC Juniors that I started earlier in the year. One is a TV yellow replica guitar, and another in Heritage Cherry that I helped a friend put together. I've done construction threads on this type before, so as not to be repetitive I'll just share a few pictures. I've always loved DC Jr's, and never get tired of making them. The yellow one is as absolutely close to original specs as I could make it. I had an actual '59 Jr. on loan for
  6. Hi Everyone, I'm John Hawkins from Las Vegas Nevada. For lack of a better name, I'll call this "Custom Fiftyone" For those of you who don't know me, I'm a life long woodworker. I build a few guitars every year in my home shop. I try to do as much as possible of the process myself. I built this one for myself, and it's an absolute beast! I had the Pau Ferro Tele shaped neck blank, and Strat shaped Ash body sitting around for a couple of years. Both had been given to me by friends. A while back when I was having some medical problems, I sold off a lot of gear. Included was a Squier '51
  7. I'm still here! A few weeks ago, my desktop computer went the way of the dodo bird. I don't really like cyberwebbing on my phone, or tablet when it involves a lot of keystrokes, but I've cobbled together a new computer that seems to be working pretty good. Stay tuned, I'll upload a few pictures to show what I've been up to...
  8. Hi Everyone. I'm John Hawkins from Las Vegas Nevada. I build a few guitars every year in my little home shop. Most of my tooling is home made, and the majority of my technique is self taught. I try to do absolutely as much "in house" as possible. It gives me great freedom of design, and the ability to make unique, original instruments. My entry this month is a seven string Multi-Scale. It's my second using this format, and my first seven string ever. The trend for guitars of this type seems to favor the "Metal" genre. I chose to do something more my style. It's a Jazz Guitar. My contribu
  9. Thanks Carl, I've always felt that my results were better when I spent the time to make a proper template. Anything that is done "freehand" is time consuming, and not as accurate. Usually, I'll engineer my own solution like I did for this one. I've made hundreds of various jigs, and templates over the years, and can most of the time pretty quickly come up with a workable solution for the task. I've only been making guitars for a few years, but I've been using these tools my entire life. Sometimes my methods might seem odd, but I'm not afraid to try anything. I like working with this Hond
  10. So far this year, I've finished three guitars, and the list of unfinished projects is almost gone. Here's what I have coming up next. The double cut was being built at the same time as the seven string, and served as a crash dummy. The finish has been sprayed, and it's ready for wet sanding. I have all of the parts to complete it except for the pickup covers that I'll probably make this weekend. When I do, because of a lot of interest, I'll take a bunch of pictures, and do a more comprehensive description of the process. Last summer when I was laid up, I sold a Squier 51 that I had f
  11. I finished my seven string over the weekend. This was surely a fun project, and I picked up a lot of usable experience along the way.
  12. Hi Everyone. I'm John Hawkins from Las Vegas Nevada. I build a few guitars every year in my little home shop. Most of my tooling is home made, and the majority of my technique is self taught. I try to do absolutely as much "in house" as possible. It gives me great freedom of design, and the ability to make unique, original instruments. My entry this month is a seven string Multi-Scale. It's my second using this format, and my first seven string ever. The trend for guitars of this type seems to favor the "Metal" genre. I chose to do something more my style. It's a Jazz Guitar. My contribu
  13. You're Welcome. That guitar of mine started as a conversation between me and a friend about laminated necks. It's not the sort of embellishment that I would normally do, but I like the way it turned out, and it gave me some solid design ideas that I can use in the future. With the exception of the coveted Brazilian, the neck was scrap wood, and drop off. It was a fun project, and won't be my last "Hippie Sandwich" I love working with Poplar. It's a little prone to tool burning, but it machines beautifully. The grain is tight, and doesn't require pore filling. It's my first choice for pain
  14. That looks like it will work fine. Quit doubting yourself! A couple of notes: The laminated neck of mine that you're looking at was my first attempt at one of these also. I used a thick piece of material in glue-up for the head stock, so that when cut to size, the scarf would be further down the neck. Poplar can be used for necks, but it's not very attractive under a natural finish. Any neck with multiple lamination will be stiffer than a solid piece of wood. I think that it's wise to use woods with similar densities for laminate necks for a couple of reasons. The consistency makes a lot of di
  15. I described the process earlier, but maybe I can clear this up for you: The color coat goes on first. It has to be oil based, or lacquer. Something that's not water soluble. - The filler is white, I thin it with water (blending it thoroughly) until it has a consistency that I can spread, and push into the pores. - There is no sanding of the filler. I use a damp rag to pull it back to the effect I want. - After you seal with the shellac, the clear top coat can be anything you want to use. The seven string made progress last night. It's almost there. I wish the knobs would arrive.
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