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About Bjorn.LaSanche

  • Birthday 05/04/1970


  • Member Title
    Modern-day Heretic

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  • Location
    San Antonio, Texas
  • Interests
    Sex, drugs, and Rock&Roll! Flying V guitars

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  1. I really thought I had started a build log here for this. I have had the bug for a long time and I knew that just jumping in with both feet would have resulted in something that would have turned me off completely My nature is to read read read then multiply that 100 times until I can see myself walking through the complete process flawlessly in my head This way, if things go awry, I’ll already understand how to solve the error so having to ask questions in a last ditch effort. That isn’t to say this was a flawless build I had some difficulties and the final product isn’t perfect one big problem was the result of an issue I had with the plans I had posted about before, and another was the way I set the neck angle Another annoying but had to live with it was the use of Katalox for the headstock face Let’s say I’ll never use that wood again Otherwise it was a very enjoyable build using non-standard wood which turned out super stable and thinking I have a great economical alternative to typical woods used to build guitars. I am not 100% complete, but am at the punch list stage if you understand the terminology. Essentially what’s left are minor cosmetic details. I’ve posted the three most recent photos, ill post build photos once I can sort them into their own folder on my end for ease of acquisition.
  2. Due to a measurement inaccuracy on my part, I’m going to have to recess the bridge into the face of the body. I am worried about height adjustment if the thumb wheels wind up being lower than the body face. I was thinking about notching the wheel edges if they do have to be lower than the body face. I would notch the wheels so I could use a snap ring plier to turn the wheels. Does anyone have a different solution? If I have to route that much I’m wanting to keep the routing as tight as possible. So I’m not going to route area to stuff my fingers to move the height wheels. At that point it’s easier to reset the neck. Which might be the best course of action. I’ve already painted the guitar but the lacquer is t that expensive to be cost prohibitive. It’s just something I’m not confident in doing without destroying the neck and body.
  3. Cocobolo isn't used as much due I believe to it's oil content. It is a Rosewood though it doesn't take glue well, but Systemthree G-2 is a long work time epoxy that would get you around that if you're wanting to use this wood
  4. upon reflection, I was getting the spray pattern control and liquid amount control backwards. This resulted in exactly your thought of paint going on too dry. I bring this up as I did it again the other day testing a different media. I think I'm going to have to put a piece of tape with a note on the cup for a while. Using a hvlp gun sure beats rattle cans any day. If nothing else but straight up comfort. I have to wait another week or two for final sand and buffing as I tried last week, but I would get to a certain point and I could feel the finish move in a few areas under the sandpaper. I stopped and doesn't appear to have done anything horrible. I ll just focus on other aspects of the build I still need to finalize. I have to remake the pick guard as It is too narrow in the control area.
  5. Thanks for the tips and yes, you’re right. The lacquer was starting to dry before it hit the surface. I’m still somewhat dialing in the gun. I’ve increased the air pressure about 10 psi at the gun and reduced the spread some so it is rounder now. It’s allowing me to lay down a wet pass now. It was one of those Aha moments. I’m used to spraying with a standard HVLP turbine system when I was doing apartment maintenance for a living. Using a compressor and hvlp gun is a little different as it has more controls to it. I also wasn’t shooting lacquer thank you for the tips regarding the temperature. I’ve already run into having to deal with blushing as the final coat I applied Friday night blushed bad. Luckily the Mohawk distributor is open Saturdays and is five minutes from my house. I picked a can of their No Blush with Retarder and sprayed a light coat over the areas and then pushing was gone in five minutes. Have to say I am hooked on this line of product. I have had no difficulties with it at all. The vinyl sanding sealer is inexpensive and way easy to work with, the metallic base is comparable to auto metallic base that runs $125/qt., the lacquer is really clean and almost doesn’t need strained. Woodcraft sells the lacquer normally for $23/qt. The distributor can get me gallons at $36 per but I have to buy a case at a time(4). Otherwise it’s $50/gal. The last item I need to try is the aerosol lacquer which I’ll need as I still have to finishing to do on the headstock face. ha I’m already itch to start my next build. Same model, different wood and will not make the errors I did last time. again, thank you Bizman62 and I did t mention it above but I wet sanded with 600 to knock down the main sharp points showing through. And once I wasn’t getting resistance moving the sand paper with 600 I cleaned the guitar off and ran another sanding session using 800. I always use a block except for edges. For those I fold the paper enough so it acts as it’s own block on a shape like this I’ll origami the paper into a 1” x 4”rectangle I bend in half and run it single direction applying only enough pressure at any time with finishes to move the paper. That goes for dry sanding too. Learned a long time ago sandpaper is designed to cut using only enough pressure to keep the paper on the surface and moving. It works against the paper to apply pressure more Than that.
  6. I’m at the tail end of my clear coating. I probably have enough lacquer for maybe 4 more coats. I know when shooting metallics you bury the particles in your tone and clear coats. The thing is I am seeming to be growing particles. The photo is the best I was able to take as they are hard to see unless right there. It’s the little sharp points in the photo. It isn’t dust caught in the lacquer as I wipe wipe a tack cloth before each coat. If you look at them one direction they look like bad acne, look from a different direction they’re gone. ive read many threads online of people lightly sanding to knock stuff like this down before the final wet coats. Thing is, is this a wet or dry sand and what grit sand paper, and would you even suggest it? I just don’t want to run out of lacquer and someone say you should have sanded those flat before your final coats type deal. First photo is what I’m talking about. Next photo just showing off
  7. These guys are my go to source for most items for my projects. Luthiers Mercantile doesn’t carry a lot of electric build items and are good for acoustics. Stew Mac, well some of their finish stuff is ok in a pinch. If you want your wallet raped on old harbor freight quality tools, yet have to pay Lie Nelson prices because it says Stewart MacDonald? I’ll pass. Go to Philadelphia Luthier Supply, it’s a smaller business that sells quality supplies. Their nut blanks are seriously choice. They carry Jescar feet wire for less than the other above mentioned shops. If they don’t carry something. Tell them what you’re looking for and they will get the stuff. The only thing they don’t carry is finishing supplies, They also answer emails in a timely manner. The other two places do not.
  8. https://www.philadelphialuthiertools.com/
  9. I have not personally purchased from this company yet, so I cannot comment on the level of service, but they seem to have a nice supply of woods I have not seen elsewhere and of sizes I simply have not seen. I have not seen a 1200lb slab of Gabon Ebony with live edge offered anywhere that is the size of me. Ever. But there was one on their website a few days ago. Their prices are fairly high, but they do pallet packs for those of you who build more than one or two a year. That’s where the deals are. There was a wenge pallet of 200bdft that roughly equates out to be around $11-12/bdft. Lots of Bloodwood, They have two or three species on sale weekly. Just looked like a source for larger amounts of the upper end of exotics.
  10. Bjorn.LaSanche

    Cook Woods

  11. Here are some photos of a couple pint jobs I am working on at the moment. The first is one of a series of guitars that a local shop plans on offering for sale. They are themed after the store which has tat 1950s SciFi / Monster Schlock Slayer meets The Misfits meets Texas outlaw country type thing. These will be purple as this one is, green, blue, and orange. The following photos are of a guitar I’ve been sitting on for about 10 years. I picked it up for under $50 at a pawnshop. Found out that the body was split off center and almost all the way through. The result of a scorned woman because after I pulled off all the stickers that were covering it there was some really nasty things carved into the finish. Long story short, I like the early2000 era body of the nj warlocks. They were proper to the model. The headstock? Why would anyone want the image of a scrotum cut out of the headstock? Well first. This is how a blood splatter is supposed to be done. When you think it’s right? Add more, when it looks gnarly take it to disgusting. Use a different paint than the base and clear so it makes the red bubble a little then let it sit for a month, then clear to cover. Let the red finish curing, level sand until it’s all somewhat smooth, then clear it til it’s smooth. Which is what I’m doing now.
  12. Beautiful. Just when I was about to make a comment that all you needed now was some sort of temple viper reference on the guitar you did that headstock mind blown!! Now with those Super 70's? Please make a video of what she sounds like once done. simply amazing.
  13. No to Relic'ing . If you're going to roast your wood, do it correctly and use the technique used for Yakisugi on the wood, bear in mind that it is not considered true Yakisugi unless it is Japanese Cypress and wood used for siding period. Shou Sugi-ban is a bastardization of Japanese and Chinese words to describe the technique. Which is just charring to a certain point and then extinguishing then oiling. I includ torrified wood in this as well. Do it the way the Japanese do on their siding or go home. Especially if you are going to paint it after building it. Please excuse the image below if looks bad I am using a 4k monitor and its making all my photos look bad. But this is one that I removed the finish and applied the Yakisugi charring procedure, brushed off while rinsing with water, then allowed to dry, then used teak oil until had a nice satin sheen. Compared to what it looked like, the instrument now has character. When the 1980's Ibanez poly dip coating was removed, the guitar sounded 100% different and for the better. It sings and sustains. Very boring previously.
  14. Bjorn.LaSanche


    Ongoing log of my build
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