FINEFUZZ

Spring is approaching, and I am getting back to progression! 

My first electric guitar was a Jetking 2, which I still have, but obviously this is no comparison.


I must say, this guitar stays wonderfully in tune and the super wizard neck is simply sensual.
This finish is definitively not resilient, (hard to determine without handling it prior to purchase) but that is the nature of this type of finish I suppose.


Oh, and that single coil with the split humbucker setting is pure delight. I have been on the fence with purchasing an Ibanez rg652ahm for the last year without the (crowded/ obnoxious?) single coil position, but these are the tones I am finding the most pleasant.
 

12 hours ago, curtisa said:

Damn right it did. It was the rosette that did it

 

What he said-

Well deserved!

2 hours ago, Norris said:

Aw shucks  Thanks

Of course, the more observant readers amongst you will have probably noticed the maple veneer packing of the tenon . At least it's solid

I would call it inTENONtional.

The level of craft is almost surgical!

Absolutely gorgeous build.  How does it sound?

This is a very stunning build.  The fingerboard is SICK, and the quilting it very luscious.

Magnificent,  Beautiful body and a lovely headstock form!

How do you address porosity in the castings?  When you finish a piece for a customer is any porosity acceptable?

This issue is a struggle for me because I would like to eliminate every small defect, but maybe  a small degree is acceptable like small knots in wood.

I haven't encountered any voids that need filling on my guitar, but I have been peen hammering the small defects which becomes its own challenge for creating smooth surfaces.

Paul 

I really like the  guitar colors and how the pick guard's angles are parallel to the angles of the guitar body.

Yes, knew about the DrNo Skull, but I didn't realize how awesome the eyeball knobs were until now.

This is fantastic!  I like how you achieved such an organic form though your process.   It is so cool that bronze can be realized by marring age-old processes with modern technology.

The central form looks like something out of the Dark Crystal.  

This is a guitar pedal design I am working on-

super-sexy binding.  oh yeah baby

progress...

Wow, this build is impeccable and possesses so many awesome design details. 

I have never really liked the flying-V platform until now.

On 6/14/2018 at 4:06 AM, GuitarGuy said:

I don't partake in the tap tone school of thought unfortunately. The Idea that you can tap a pice of wood and then change its form, attach some stuff to it, then expect it to respond to the same frequencies is lost on me. Just for fun, it rings like a bell, fwiw, I dont know what it's natural resonant frequency will be, but im sure it will be apparent when its together and playable.

Im just worried about the extra metal affecting the current in the coil. Im leaning toward some sympathetic vibrations being read by the coil creating a chorous or vocal effect. But its pure speculation.

I am exploring of effect of resonance with my build with almost the identical theories you have.  With my build I am hoping there will be a noticeable resonant frequency that will feed into "sympathetic vibrations" or harmonic oscillation.

The reality is, the only true way to know the outcome is through building a complete guitar, there are just too many variables to speculate.

On 6/18/2018 at 2:17 PM, Prostheta said:

Good call! Lie Nielsen also have a video doing their plane bodies being made in a similar fashion.

 

That is an interesting video as well.  I have not seen the tool that is used to do the first surfacing operation prior to the flywheel surfacing before.  Foundry work is fun to watch, but there are so many elements of the process that make it very dangerous. 

I used to do pattern work on core boxes that belonged to a railroad foundry and I never envied the workers who had to do the iron casting. 

North of my house by half an hour is the Kohler headquarters where one can tour the different facilities form porcelain work to iron casting.  Seeing them construct a cast iron bathtub is something to behold.

Thanks Splintazert,

That video does illustrate the exact process I followed.  The only difference is my process is much sloppier and typically involves damaging whatever clothing I am wearing.

I have been told by the Sikkens reps to not sand any finer than 600 between any coat of paint and especially prior to clear- so to achieve the greatest adhesion between coats. 

second that on the Delta Lectro- it looks like a Danelectro hooked up with a Gretsch and had a baby

1 hour ago, Prostheta said:

I agree with @curtisa on the points made. For my own part, I prefer to buy coils of fretwire, however this is always a big investment and not always possible for everybody. Buying pre-cut radiused pieces is an option, however if they radius in the pieces is too small for your needs then it's not easy to bend it into a correct one. The same applies to those straight ~8"-12" sticks. You can mostly put them through a fret bender, but the losses are high.

Both fretsaws are made by Flinn & Garlick in Sheffield, UK. They are functionally identical. If you're buying from StewMac, consider a fret slot cleaning tool. Very useful if you do a lot of blind slots on fingerboards and basic spot cleaning.

I can empathize with mistermikev as I am green on this subject as well. 

I purchased the stainless "straight ~8"-12" sticks" from StewMac, but I though I read that they didn't require pre-radiusing.  This conversation shows I need to give this process some more preparation. 

15 hours ago, GuitarGuy said:

Powdercoat, reflective purple.

Awesome, that is very appropriate material choice

I really like the horns, and that they are offset.  What are your thoughts on finish?

alright,

I measure the distance between the center points of the two bridge post studs:

3.085 on the bronze and 3.1248 on the master.

That distance shrank by .0398" -so about .013 percent of shrinkage