mistermikev

oh, it's just african mahogany... aka fiddleback mdf.

quite unique and quite nice.

wow, you've got a collection to aspire to. v nice.

that my friend... was a bit of humor. the funny part being that of all the different figure types I could choose to contest I would choose to contest the 'western' part. Not nearly as funny now that I say it out loud... but I assure you - in my head - it was comedy gold. looking at it again, I see some flame but not really fiddleback so...

nope...............................................doesn't qualify..................................................................................i can tell by the grain patern...............................................................it's not western. seriously tho... that is some beautiful and interesting stuff

so here is my cutout elevation for my 'delta-lectro'. I'm planning on making this a set neck. Looking for feedback on anything you see but also specifically the neck pocket and strength/stability issues. I plan to make the heel area of my neck somewhere around 1-1.5" thick not including fretboard... plan to leave approx 1/8-1/4" on backside at thinnest points and will likely use a 1/4 bowl at the edges of cavity cutout. body stock will be mahog and w/o the top should be somewhere around 1.75" thick. planning to go 3/4" deep at the belly cut and do a 5/8-3/4 max depth on that bevel. should be enough surface area for a good strong joint and/or strength through the body? is the belly cut big enough comfort wise? thoughts, concerns, things I haven't considered?

did anyone guess: western quilted figured flamed spalted ribbon fiddleback birdseye tiger burl?

so... I've seen a few guitars such as the larry graham bass pictured here, that have a white fretboard/neck. I can't imagine it is any sort of dye, correct? If paint, seems like you would want to do the finish before doing any frets, but my experience with frets has been that you are almost guaranteed to nick the board at some point. I suppose you would face this issue also if doing a refret. So... my question was: would you finish before doing the frets? I know with some nitro necks they tend to finish after the frets, but even taping off the frets I don't see how you wouldn't have issues with potential chipping along the frets. anyone have experience with this sort of finish? what can you tell me? Is there white dye out there that works? https://www.google.com/search?q=larry+graham+bass&client=firefox-b-1-ab&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjIlrbx-4XcAhXG0J8KHYr_BpYQ_AUICygC&biw=1222&bih=872#imgrc=2ZXt-fePifZLFM:

fiddleback mdf... lol.

all right fine... it's clearly tamo ash

clearly a real stumper (hehe)... here's another hint. (somebody get this monkey a typewriter!)

I can't believe you guessed it so fast. made from the finest tonewoods - crushed up and glued together. seriously tho... as I was just spray painting the ends I noticed the bottom piece has some very nice ribbon on half. also this shop has some amazing 1" bubinga with light figuring 18 or so inches wide. Not sure I want 6 bubinga-top guitars but... I'm gonna ask for a price anyway!

this week I went to a new source that - as it turns out - is right down the block from my work. It is really a commercial place so I was hesitant... anywho I called and got a price and it was better than I'd heard of so... picked up some new 8/4 x 13.5+ x 11'. at $4.13/bf I paid 110. Should be enough to do 7 1 piece bodies or perhaps 8 depending on what I build. That's $15.86 per body. as I tap on it with my knuckle it goes 'pooooong'. better than my recent walnut. it is ruff so it's 2" actual. a little cup but not bad. I'm not going to tell you the type yet cause I bet you guys will enjoy telling me what it is... what say you? what type of wood is this?

your explanation on the tenon is crystal clear. makes sense. Hadn't considered the deeper neck tenon and now that makes even more sense. afa glue joint... I have seen the proof of that. I'm a believer, nice illustration tho.

scottr - you cracked me up with that last line! "they're my believies - they make me feel better" I hear ya on the physics, and always good info - thanks for that. I've seen your long joints and I have to admit I was thinking "why aren't they all like that, or none like that?" Long story short - i believe you but I don't know why. I suppose the continuity of the fiber is the factor. Then again would it be a stronger joint if the tenon was multilam? that's probably rhetorical.

Name: "The Pic-a-low" Materials: 1 piece black walnut body 1/2" 5A maple burl top and 1/8" headstock overlay black walnut neck gaboon ebony fretboard with maple burl markers Config: 32" scale length with "fat c" profile Hardware: very modest... wilkinson tuners, song il (korean) bridge, no-name pickups w replaced alnico II magnets (didn't have a lot of faith in myself to make this worthy of more expensive gear as this was my first build but will likely replace some things given how moderately well it turned out) Electronics: again very modest... 3 way rotary switch + 3 way toggle wiring for parallel inside vs parallel outside, series inside vs series outside, series vs parallel, master volume, hand built 2 band active preamp with push/pull on/off and bright switch. EDIT - forgot to mention... kinda cool... if you look at the right side f hole... my preamp trimmer is accessible through the f hole. Kinda gimmicky but cute none-the-less! Experience/Background: did some woodworking (lot of sanding!) and solid surface fab as a young man, have built a few things like a desk and a futon... have assembled quite a few guitars from parts, always wanted to build one from scratch and got the (false) confidence from seeing so many skilled builders here making it look sooo easy (it wasn't). Where: built in my garage w jigsaw + drill press + router + palm sander History: I pawned off my first bass guitar - a yamaha motion b - for $75 in 1995 while broke in L.A. Always regretted that. It was a 32" scale bass and as primarily a guitar player, it was perfect for me. 32" scale is very rare to find and generally quite expensive so... in the diy spirit I set out to replace that bass on my own. Picking it up the first time, this neck felt like coming home! Design: used fret-2-find to layout the fretboard, took some p style bass diagrams from the net and scaled it down a few percent, then smoothed it out in photoshop -pretty standard but a bit smaller. Wanted the body to be as light as possible but also wanted to avoid neck dive given the plan of heavier/cheaper tuners so I did some forstner weight relief but kept the f-hole cavities about 3/16 wider than the f-holes themselves. Journey: my build thread here Standing on the shoulders of giants: special thanks to protheta, curtasia, scottr, norris, andyjr1515, mr natural - if it hadn't been for your advice and encouragement, I'm sure this could have looked like some sort of picaso/dali impression of a bass!

I've always heard that a good glue bond will actually make the joint stronger than the wood - do you agree? So afa a les paul neck pocket: why would a longer tenon make any difference at all? at a short tenon joint theorhetorically the two pieces become as strong as one piece of wood. perhaps stronger. It would seem that extending the neck piece would have no benefit whatsoever given that you agree with sentence one. I suppose by extending the glued area the strength you get from the glue joint is more because there is more glue joint... but it should already be as strong as the wood itself. thoughts?

thank you very much gentlemen. I've got enough walnut left to do two more... one piece has crotch figuring on the top half. Can't decide what to do with that... but I love the way this walnut looks with just a light finish. So dark. Want to take my time to decide what it should become. thanks again for all the replies and encouragement!

wow did that ever come together nice.

I owe 90% of it to you guys. Always encouraging, always quick with the answers. Thank you specifically prostheta for encouragement afa gotm. I guess it can't hurt to throw my hat in although the competition around here would suggest to me I shouldn't get my hopes up. Thank you guys very much for your responses. Next on the list...(since you asked - doubt I'll live long enough to do all the ones on my list now but...) going to learn about binding. I'm going to use faux plastic abalone binding and faux acrylic abalone inlays. no radius on this one cause it's a slide geetar. countersunk bridge so my pu won't stick out too far. think I'm going to do an angled headstock and an unconventional set neck. currently searching for a deal on some mahog for the backside altho I can get a nice 1 pc popular 8/4 blank for $25... not sure what I'll do afa top... but this is the general idea.

facebook thread here: https://www.facebook.com/groups/44274804507/?multi_permalinks=10156438706584508&notif_id=1530390253167677&notif_t=feedback_reaction_generic Learned a lot. Special thanks to all here for help, encouragement, and listening to me drivel on.

I have a 89 jem 77 fp and imo this pickup wiring was the biggest innovation in guitar wiring in a long time. The idea of that guitar is to do both a strat and a lp and it comes closer than anything else I know. It does strat very well... it does lp soso. I recently built a strat with the ability to switch into series mode so I can/will comment on how it sounds... a lot like a humbucker. you loose some highs and gain some 'snarl'. it's great for the strat cause it gets a hair more aggressive which is nice for mid/high gain stuff. imo, if it were my only combo... I'd go with parallel. The magic of hsh is that it can do strat sounds and humb sounds. putting it in series would be redundant - imo, because the humbuckers are already yielding a series sound in pos 1/5. just my 2c.

never heard of brushbox before but it's very pretty. Nice work picking something more unusual. 7 strings? you crazy... I can hardly play 4!

wow, creativity and craftsmanship combined. nice work.

wow, noice top. looking god.