ADFinlayson

I think it's time you succumbed like the rest of us and build yourself a workshop mate. No guitar builder should be stuck at home without the ability to build guitars

Thanks chaps, It's been UPS'd to it's new owner who is a PG member, so he might be on soon to tell you all how crap it is.

Lower output = better tone and versatility IMO, they clean up a lot better when you roll off the volume and you cant retain more of the highs if you use a treble bleed. I put a super distortion and liquefier in a build for someone a year or so ago. Can't stand them, a lot like the jb pickups, they just sound like a compressed stereo sound with no middle to my ears. On the other hand I just put a pair of SD vintage blues in a build, not expensive pickups but sound great through my MT15 (All I've got access to during lockdown). I also really rate OX4 pickups, Lots of people on the internet praising his PAFs and his p90s I put in a recent build are just awesome,

Looking forward to seeing this one move on. Lovely wood combinations, what is that body? in the pics of the blanks i thought it was sapale, but the pics after shaping makes me think is african mahog?

Davids CU24 finished, some pics of the finished Article. 50% of the garage is in boxes now so won't be touching the Tele build until I'm all setup in the new workshop - Not a bad thing because it's bloody cold in the garage at the moment!

I did this a while back thanks to help from @mistermikev which is close to what you're looking for (apart from position 4). Using a fender 5-way super blade switch, I think Oak Grigsby do one too. Note position 4 - I was clearly trying to write neck and treble in the same word it's Bridge single + neck single pic below taken from the music man website. I was using PRS pickups which only have 3 wires - live, ground and coil split. So I am unable to have 2 options for inner and outer coil settings like the MM positions 2-4. I think you would need 4 conductor pickups to make that happen. It's only my opinion, but I think you will get better variance of tone between positions 2 and 4 if you do the PRS bridge hum + neck single than the Music Man outer coils vs inner coils, it will give you a slightly higher output quack which is cool for bluegrassy stuff whereas the MM 2 and 4 will sound pretty similar. However an active EQ will give you a whole world of other possibilities anyway, I did a passive bass with active EQ earlier this year, the active EQ just goes in the circuit between the output of the switch and the jack, and it is a lot more straight forward than I thought it would be. Just make sure you use a stereo jack and connect the battery earth to it so your EQ is only draining power while the jack lead is in. Looking forward to seeing your build thread!

Oi I'll have you know, my oil paint stained build won GTOM

When I said white spirit, I meant mineral spirits in your language. We don't have that readily available here so I get white spirit from my local Home depo type store

You can thin oil paints with white spirit. I've use oil paints to stain guitars before and I wouldn't recommend it to be honest, takes forever to dry and a lot of it will come off if you do any kind of wipe on finishing - it will react with true oil, crimson finishing oil, wipe on poly (those are the 3 I've tried anyway) etc. Angelus leather dyes are very good if you want vibrant colours.

Looks like pine to me. I would expect it to be heavy as a double neck, there's a lot of wood there.

I saw that but that is referencing the plain shaft pot, is a knurled 6.3mm knob going to fit on a plain shaft knob properly?

Just had a look through that spec sheet and the 3 websites. Useful links sites but those are metric pots in the bourns specsheet with the 6mm split shaft. I don't think Bourns do an imperial pots, not that I can find anyway. Annoying because they're exactly what I want in terms of friction

Fair point, to start with I had them much closer to the body but found them impossible to turn due to the awkward shape of the knobs, so I had to make the cavity deeper. Now they stick out a bit further but I can get my fingers under the edge of them for quick adjustments. I don't like these knobs, first and last time I'll use them. I'm struggling with pots and knobs tbh. I want pots that are imperial and low friction - The only ones I've found where I like the friction are Bourns but they're metric and I haven't found any metric knobs that I like the look of. Any suggestions welcome! I think these pickups must be solely designed for thicker body les pauls etc, these pole screws were sticking a good 15mm out of the bottom

Finally got round to putting the other one together, had a right ball ache getting the pickups to fit (SD vintage blues), I ended up taking a dremel to the pole screws on the neck so it didn't foul the tennon. And I went almost exclusively with braided wire this time Some festive glam pics below, annoyingly I've just missed the cut off for GTOM. You will see on the back, I need to get myself some swirl remover, but it's mostly good. Final specs are: Body: Solid 1 piece mahogany, ebony backplate Neck: 1 piece mahogany Fretboard/Headstock: Gabon ebony Tuners: Gotoh SD90 vintage locking Nut: Bone Inlays: white mother of pearl Frets: 24 medium jumbo Jescar nickel Bridge: Roller tunomatic & tailpiece Pickups: Seymour Duncan vintage blues Electronics: 50s wiring - CTS 1 vol w/ treble bleed, 1 tone paper in oil 3-way toggle Finish: Body & headstock - Vintage cherry high gloss nitrocellulose, blending to danish oil on the neck Scale: 25" Weight: 7lb 8oz

Difficult month!

Beautiful!

Fixed it, cheated using my "lathe" and shaved .25mm off each stud I wasn't about to plug and redrill recessed holes on an already lacquered guitar, no thank you. This thread will serve as a reminder to me to get this stuff sorted out before throwing finish on it.

not sure what you mean about angling the bridge but it doesn't matter now - just drilled the sodding things too close together. Not sure how because I had the bridge in placed with strings on and used a 4mm centre punch to mark the locations before using a brad point in the drill press, but they're too close to each other by .5mm and it won't fit on the studs. Livid.

I've got this bridge to put on one of my builds, it's a roller roller tunomatic but I'm not sure if I need to offset the studs from the scale line at all? Normally with a tunomatic I would drill my holes bang on the scale line on the treble side and 2mm passed on the bass side, but this bridge has more of a slot with some limited adjustment and it does look like the studs sits a slightly behind the saddles. As you can see from the attached pics, the spec drawing isn't accurate I appreciate some advice if anyone has used it before, it's a an off-brand bridge from Northwest Guitars

I have that same plane, my dad gave it to me last year and it was in similar condition. I didn't go to as much effort as you have to bring it back but got it back to full working order. It's one of my favourite planes now, a good size for rough radiusing fretboards and rough jointing tops and body blanks before switching to the no7

Ha, that inlay is awesome!

Congrats! well deserved.

You don't need a fret slotting jig, I've done all my fretboards freehand with a fret saw

Check out Freddy's Frets on youtube, his les paul build series is excellent and he shows most of the finishing process.

I reckon you need to go back to levelling on one of them and get all frets perfectly level with a beam, put strings back on prior to crowning and see what the buzz situation is like. I did actually have a similar issue twice last week. I was doing a refret on my mates les paul and my yellow DC that I just finished. Got them all level on both guitars, crowned, polished up nicely with the dremel and I had a load of buzz on both guitars, the gibbo had a totally dead 14th fret too so I levelled again, put strings back on and had no buzz, then I did the crown and polish all over again and it's great. My mistake was relying entirely on the disappearance of the Sharpie line and not checking they were level with a fret rocker.