Pariahrob

3 hours ago, Andyjr1515 said:

Just caught up with the Glastonbury shot.  Just how cool and gratifying is that!!!!!!

Well done and well deserved

Thanks so much Andy. Was amazing feeling to see. The feedback from the artist was amazing too. 

Tomorrow im meeting Cerys Matthews bassist to talk about building him one!!!!!!!!!

Back to current builds and the superstrat I'm building continues after a break. I'm currently slotting the finger board. Love this ziricote!

Thanks guys! I was pretty nervous about it. Had thoughts if the neck falling off mid set and all sorts. 

He loved it though so all good and has definitely given me more confidence in my abilities. 

Good wife indeed!

i know a chap who gets great results on basses and cellos by putting them in a tanning booth. They come out looking suitably aged  

Instruments. Not wives. 

I'm a fan too! Just picked up a goldtop les paul with p90s and it sounds plain rude. Absolutely love it. 

In in other news my jazz style bass has been reworked and will be on the pyramid stage at Glastonbury tomorrow and then in a special set for the BBC at 7pm if you're interested in seeing and hearing it. 

Not sure if I posted pics already (and too lazy to search my thread) so here it is in all it's glory. 

So I applied some very thin ca, based on tests on offcuts and I think that's a better solution. 

Alm good now and the body is ready, other than some small refinements. 

Started marking out hardware but question for you all. 

I was going to go for a single bl500xl in the bridge position but I have a lovely p90 that I'm debating for the neck. Still not sure which way to go. 

Thoughts?

I decided to continue testing on offcuts from my top blank. The thinned shellac seems to have penetrated a fair way but after routing a test pickup cavity ibthink it could do with the ca too. Routers aren't kind and the added stability can only be good. 

Lesson on learned. I think the shellac method would work perfectly for drop tops but this is way thicker. 

Onwards!

Very nice work. The build is great but I'm most impressed by the finish. Really vibrant and smooth. 

Thanks for the thoughts guys. It was a spirit based application which was very thin. I have piecebif scrap that he tested and that now feels very solid. 

Mum more than happy to apply some ca if it's needed but I think he was right. All feels super stable but I'm yet to route any cavities. That will be the telltale moment. 

Fingers crossed!

ps. I'm still undecided about the monkey grip. Argh!

Neither did I. A friend who builds classical instruments showed me how and seems to have worked. It was very thin and just seemed to suck into the wood. 

@pan_kara I didn't before the rough shaping but have now. There are a few ways to do, including specialised resins/polymers that you heat to shellac (which I used as my timber is pretty stable). You can even use thin superglue at a push but not sure how well that would penetrate. 

Yeah, me too.

My gut says bolt on but that's more as it feels in keeping with the whole hot rodded strat type thing. 

So true SR. I use jazz 3s mostly and they tend to go into camp mode a lot. Must get some neon!

Right then. So the next build is underway. This time it's a superstrat with the following spec:

Tulipwood and spalted maple body. 

Maple/wenge/maple neck. 

10 degree reverse headstock with ebony veneer  

Ziricote fingerboard with jumbo frets. 25.5" scale  

Black hardware. 

Hipshot string through bridge. 

Locking tuners and graphite nut. 

Single volume. 

Bill Lawrence 500xl pickup. 

Thats the overview view and work is well underway. Body is mostly roughed out with a big tummy cut and a shallow forearm contour. Needs some tidying but getting there. Love the maple top. Looks kind of skull like to me. 

I jave questions. I can't decide it it should be a set neck or bolt on. Thoughts?

also somebody suggested it would suit a monkey grip like the Jems have. 

I love wenge but wow does it hate tools. It's really easy to work but dulls an edge the moment it sees it!

I'm in! So glad I found this forum, as it's really helped me develop quickly. Onwards!

This is the Hyrne

Double cut, semi hollow.

Sapelle body and neck

Quilt maple carved top

25" scale Ebony board with brass inlays and jumbo frets.

Schaller Grandtune machinheads with snakewood buttons.

Tonepros avt2 bridge

Braided wires, bournes pots and Monty's handwound GT500 pickups.

Hand mixed and rubbed stain. Oil and wax finish.

Tusq nut, ebony and maple head veneer.

This has become my number one guitar and can't seem to put it down at the moment. Took a few attempts to set up to my liking but now it's like butter. Strung with NYXL 10s.

The effort paid off. Looks fantastic!

Lol. Yeah. Action was definitely very high. All sorted now though, along the intonation etc.

It's always hard finding the balance between cost and value. I often struggle with wanting lots of figure but knowing it'll sound as good without. I usually succumb though and live with the added expense. 

Well that was less stressful than expected!

Neck is on, body done, stained and oiled. Hardware is going on!

The colour I'm calling jack&coke. It's made from mixes of brown, amber and cherry stains. Applied with cloth. 

Next up wiring! Here it is in its future home. 

Awesome builds. That quilted purple looks lovely. Such a clean job. 

Im also a big fan of paduak and am slowly being bitten by the limba bug. 

Agreed. Very nice piece and really like the tweaks you e made to the shape. 

4 minutes ago, Prostheta said:

Give it a try on scrap. It's surprisingly simple. Just keep wiping the wood back against the grain and let what you've packed in solidify.

Exactly what I did this morning. V simple process and looks and feels great. 

I'll let it harden and tomorrow will give the test some wax but I'm confident this is the way to go. 

Thanks! 

Ill skip it and go for the finishing oil (not Liberon oil). Slurry idea sounds like a good trick and the pores in sapele are so minimal that should work just right. 

Cheers!