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Everything posted by MassimoPL77

  1. Thank you @Prostheta, your words make me proud! And I would like to compliment @KempGuitars, @Osorio and @Andyjr1515 on their amazing buildings!
  2. Thank you Mr Natural! Thank you Andy! I really appreciated your build: beautiful woods, awesome high gloss finishing and really clean work inside the electronic cavity! Thank you Patrick! Thank you Zoltar, I'm working on some new stuff in these days... I will keep you updated!
  3. I decided to give a second chance to this guitar: this is my eight build so far and was intended to be a sum of all things i've learnt in three years of guitar building. I decided to call her Ladybug, or Coccinella in italian, because of the inlay on the twelfth fret. The guitar has been built following the plan of a '59 Gibson Les Paul, but woods and decorations are all customised. The body is made of european ash with a big weight relief chamber, while the top is indonesian ebony, a wood really similar to Makassar ebony, but more porous and lighter. The guitar has
  4. Thank you! That part was really a PITA! but I think that they make the leaves more real!
  5. Thank you! If you haven't read it yet, I suggest you "The art of inlay" by Larry Robinson. It's a small book, but it covers the technique very well. He made some dvds too, but I haven't seen them.
  6. Thanks! As I said before, this guitar was built as a sum of everything I've learnt in three years of guitar building, so I wanted to do a full inlay on the fretboard and on the headstock. I felt in love with inlays admiring Larry Robinsons' masterpieces, so this is a kind of tribute to his style
  7. Thank you Woden I've always been in love with the Les Paul design, I believe it's the queen of guitars! Pickups are Seymour Duncan Jazz at the neck and JB at the bridge. I like how they sound but one day I would like to try some handwound pickup or PAF replica...
  8. Thanks a lot Meatloaf! I'm really happy that you like it!
  9. Here are some pics of the assembled guitar: In addition to standard three wires, I had to use other two for the split coils, so, all in all, there are five shielded wires running through the body. I was a little worrying about noise, but luckily the guitar is not noisy at all! The sound of the guitar surprised me: having used really dense woods like ebony and ash for the body, I was waiting for a more trebly, sharp sound, while I think that the guitar sounds equilibrated. I wonder if this depends on the large chamber routed in the body.
  10. Now the guitar is almost finished so I took a photo with the hardware. I choose golden hardware, because I think that it matches better with the wood and complements the golden mop purfling. I f I could go back, maybe I would also put EVO gold frets... Now it's time to varnish. I didn't want to dye the wood, so to get an hi gloss finish i decided to use polyurethane and acrylic 2k finish. This combination is really easy to sand and you can get a mirror surface with no need of wet sanding. This is the guitar after clear coat. The mop stands out a lot under lacquer!
  11. Thank you! Thank you Prostheta! I'm glad that Nina liked it!
  12. Thank you Andy, I'm really flattered for this comment To cut the hole I used a drill press drilling the headstock from the back and going really slowly. It was stressful!
  13. I decided to put a rose also on the headstock, to complement the inlay on the fretboard. This drawing is smaller than the others, because the flower has to go between the machine heads. I decided to inlay on the headstock also a drawing: the logo Delky. It's just a joke from school times, a nickname from my surname Del Col. The leaves are made with abalone paua, the petals are made with white mop and australian greenlip abalone. The contrast between the different colours of the shells helped me to give more depth to the rose. The writing is made with golden mop. As you can see on the
  14. Thank you Scott! But, as you can imagine, the real patient in the house is my wife! Thanks Zoltar! My father is a furniture maker. I followed a different path in life (I'm a teacher) but I've inherited the passion for woodworking. Thank you Norris! Thanks Skyjerk. As I started inlaying I felt immediately in love with this technique. For me it's so satisfying to work with mother of pearl and I'm always surprised by its changing colours and the different effects that you can achieve!
  15. For this guitar I wanted to do an intricate inlay and I choose one of my favourite subjects: roses. I started making inlays three years ago and it was immediately love with this technique. Most often I do small subjects like logos or writings, so this one is my second full fretboard inlayed. On the twelfth fret I decided to inlay a small ladybug (from which the name of the guitar) to vary a little and to create a colorful subject that stood out on the rest of the inlay. The drawing of the layout is always the most demanding part: I draw by hand, first looking for subjects, then marking th
  16. The neck is the part of the guitar that differs the most from the traditional Les Paul: I made a 5 parts laminated neck with a 15°scarf joint and a volute. To start I glued together the sandwich: ebony /maple/ebony/maple/ebony. The ebony is the same asian wood used for the top. (Sorry for the low quality of the next photos : I don't have pictures of the building process of the neck for this guitar, so I'm using some pictures of an older build made with the same woods) This is the result after planing: To cut the scarf joint I used the table saw with this jig: I
  17. Thanks Norris! I'm a member of this community since 2014, but up to now I was only lurking for infos and admiring the work of others. Only now I've found courage to contribute.
  18. Next steps were binding and purflings. To cut the channels with the arm router was an easy task The most difficult part was to cut the channel on the cutaway, because in that position the channel doesn't lay on a plane, but it goes up after the horn and then goes down near to the neck pocket. To achieve it I used this jig with my Makita hand router The channel wasn't perfect, because the radius was too narrow for the jig to work correctly, but after some refining with a chisel it was acceptable. My aim was to do a flamed maple binding and a four parts purfling: eb
  19. Before starting to carve the top I routed the back contour with a 5mm concave bit. Now I'm ready to start with the top. Firstly, using seven templates I route the lines on the top. I work with an arm router, so I have to doubletape the templates on the back of the guitar. Then I had to route the neck plane and the pickups plane. To do it I made a simple jig: an MDF board with two screws, which gives a great control of the angle. Using this it was easy to set up the right angle. 4.2° for the neck plane: 1.4° for the pickup plane In th
  20. I wanted a dark wood for the top, because I like the contrast between the top and the body, so I found this asian ebony, really similar to Makassar, which was very figured and enough thick to be a Les Paul top (16mm). Firstly I glued the two parts together: Then I glued together top and body using my vacuum pump. To be sure that the wood doesn't move I tightened two screws on the pickup positions. I've bought this pump to glue veneers, but I had really good results also with thicker woods and now I wouldn't go back for clamps! Here is the result after routin
  21. Hi! I'm an italian amateur guitar builder. I started this hobby three years ago and I recently finished my 8th build. As I posted the pictures of the guitar on the "guitar of the month" contest, I decided to open a thread here to publish all the photos taken during the building process. For this Les Paul build I followed the plans made by John Catto, but I didn't want to build a real replica: I respected all the original sizes and the top carving, but woods and some building choices were customized. To start I prepared all the templates Then I glued two pieces of ash from
  22. Hi, I'm an amateur guitar builder from Italy and I want to introduce you “Ladybug”, my 8th build. I've started building guitars and inlaying 3 years ago and this guitar is supposed to be a sum of all things I've learnt so far. For this guitar I wanted to do something challenging, so my choice felt on a Les Paul style guitar. For all the sizes I followed the plans made by John Catto, but woods and some building choices are customized. Woods are european ash for the body and asian ebony for the top. European ash is really heavy, so I routed a big weight relief chamber to keep the over
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