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evfool

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evfool last won the day on September 1 2020

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  1. Hmm, thanks for the heads-up, I just drew the side-view to "calculate" neck and headstock angle (at least a rough estimation) and indeed, the short grain could cause some issues with a 4.5-4.8 degree break angle (that's what came out for me to have a proper action at the 12th fret with the roller bridge I have)., plus the neck pickup route. Maybe the multi-laminate neck gives some "protection", but good to keep in mind.
  2. Whoops, forgot to mention that. I'm aiming for 25.5 (to be on the "standard" side). Why do you think 25.3 would've been a better choice on your semi-hollow (do you mean your ES-137 by that, that seems to be your recent semi-hollow)? And can you point out the problems a neck-through solves, which you would have with a non-neck-through?
  3. Time to plan and build another guitar, with all the craze going on with #greatguitarbuildoff in the builder communities. In any case, I did get hold of some cherry and black locust boards, two strips of walnut veneer and (not sure of what kind of) oak veneer (2.5mm thickness) and I'm planning a semi-hollow build with some twists: Here's the specs (heavily inspired by Starcaster, which is heavily inspired by ES-335) neck-through 5-piece neck : black locust, walnut, cherry, walnut, black locust 2 or 3-ply oak laminated sides Bigsby B5 trem roller tune-o-ma
  4. Whoops, indeed. Tried the nail varnish on a scrap wood piece, and it's too thick, so the edges can be felt, which is not worth it. But the idea of masking everything except the area I want to paint, painting with a sharpie, removing the masking tape ( leave it on the sides of the neck) and applying a clear coat all over the fretboard sounds doable. Ok. The idea of scraping off the finish, dyeing and applying a clear coat sounds the most professional solution, but with my experience (almost 0) it also sounds the easiest to mess up. Maybe at some point later... you know, the thin
  5. I was thinking about the "difference" between the front and the back, but I was absolutely scared of painting all that beautiful wood with a solid color, so I decided to go with that. Any thought how I could make that "difference" less prominent? Maybe a black coat, with a silver/white showing off the different wood grains (I saw some techniques to make the grain pop with a light colour with a black coat)? Do you think it would help it? Is it required? And yes, you are absolutely right on the fingerboard. But I'm not sure how I could've done that part better, as I needed a very thin layer
  6. And the guitar was completed. Next came the intonation, filing a new nut (the original one broke) from an old guitar saddle (which was filed too low) I had available, and setting the intonation. The bridge angle was a bit off, so the high E and B saddles pushed all the way is perfectly intonated, so probably I should've drilled the treble-side post a bit farther, but it just works now. A couple of shots from different angles, but I'm really satisfied with the results.
  7. Next came painting the top with acrylic (fairly easy, mostly just colouring in between the lines, mostly basic colours I had readily available, only had to mix colours for Marios face and the cloud), painting a faux-binding with black, as the outlines were also black, and the edges rounded over by sanding (I was afraid that the rounding bit would tear the plywood apart). Then finishing with a spray-can of semi-gloss clear-coat both over the top and the body, and wiring the electronics. Even though soldering went fine (pickup blend pot, 3-way switcher and master volume - yes, I know it mig
  8. After gluing the two mosaic layer pieces together using all my clamps I had available, came lot of sanding and chiseling and rasp-work, due to the router not being able to access some parts (e.g. the part between the tail and the hand, and around the had. It took quite some work to get the body close to the size of the top, but it worked out well (although there still are some areas which aren't perfect, but lacking the proper rasps - very thin ones - and in some places the wood being extremely hard, I gave up with agood-enough result instead of going for perfection) The next thing was ro
  9. Continuing the story, I needed a neck cavity I made hell-of-a-mess with that, as the upper side was a really hard wood, which resulted in the wood burning and smoking all the time. But it turned out like this, and became even better after some chiseling. From the next step I have learnt that I should think first and cut afterwards. I was thinking that I don't want humbucker ring to obstruct the top, so I wanted a "back-adjustable" humbucker. Not sure how I thought that, but (fortunately before cutting the rear access) I realized that humbuckers are meant to be front-adjustable (screws, sp
  10. Yes, I agree with your worries. Tried to find a piece where both posts are in hardwood, but I couldn't (pine is very common here, so the mozaic has most of it), so I risked. If you check the other piece, that also has pine right where one of the bridge posts should be. I was thinking that with the posts fixed, they shouldn't be moving and the downward pressure of the strings is fairly constant, the string angle after the bridge to the through-body holes is not very steep either, so maybe it won't have issues. But maybe it will, only time will tell. In the worst case I'll take the top off, rout
  11. After laser-cutting and engraving the outlines for the top design to 6mm thick plywood, started working on the body, from so-called mosaic wood from a local hardware store, which is probably made from scrap wood pieces of different woods, which looked really fine. As the boards were 20cm wide and 2 cm thick, had to do 2 layers, so I started gluing the pieces together, and rough-cutting them based on the laser-cut template. Then I started "chambering" one of the two pieces, which was fairly easy, as the two layers were not glued together, so just drilled the holes, and cut it out with a ji
  12. As each beginner I started building my dream guitar with all the fancy features, called a musicboy (evfool created a topic in In Progress and Finished Work) Until I realized I don't have the tools to properly do it, so I wanted to do something easier for practicing, until I will be ready to finish that one. And learning from the failure I didn't post until I wasn't sure I can do it (which is after it is finished). So this is a build thread, showing the 3 months progress in larger steps. The neck I had was a 22.5 inch scale short neck, so I had to build a down-scaled guitar to match it.
  13. Any chance for a short clip (sound and/or video) on how the GOTM entry United Solutions Stage Acoustic sounds? I'd really be interested how a fully hollowed out guitar body with an acoustic top sounds. I wanted to do something similar, but as a search for it yielded no results, I considered that people don't do that because it is not worth it and I dropped the idea.

    1. verhoevenc

      verhoevenc

      Sure, I'll keep this page open to remind me, and I'll grab something next time I'm around it and have time.

    2. verhoevenc

      verhoevenc

      Here you go. Hopefully this is helpful?

      Chris

    3. evfool

      evfool

      Absolutely helpful. Thanks.

  14. Wow... I can't stop looking at the grain of that fretboard (or the body). Can't wait to see both of them together.
  15. Ignore the Manganin and Nikrothal option, those probably won't work in pickups (electromagnets) as they don't have any magnetic attraction.
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