oz tradie

Dayvo got my vote this month, for great blend of aesthetics as well as attention to detail. Well done mate. cheers ,Stu

There's an anticipation that creeps in when a new build's guitar case is slowly opened up to reveal what beholds. Having heard very few 12 string electrics previously I wasn't too sure exactly what to expect, although very well versed with 12 string acoustics and their beautiful 3 dimensional qualities, I couldn't wait. So out came the 'toneflow' out of the case from Jon's hand to mine and the first two thoughts that struck me were, (#1) 'wow, look how big the headstock and tuners are !!'. (#2) 'This thing ain't that heavy yet it's balancing beautifully.......how?'. I was in full realisation that even though the headstock by neccessity had to be big enough to accommodate 12 tuners, this would make difficulties in balancing out the weight distribution so it wouldn't be neck heavy. Well the body isn't as heavy as I expected it needed to be, but it also balanced beautifully. Wow!! She just ain't that heavy at all. Granted the weight sits a little more forward than you'd get on a standard 6 stringer but it's not your standard style build. Firstly we played acoustically while amps warmed up, and this is always I like to test builds first. If it's got resonance and volume unplugged then you know things are sitting in all the right places for the pickups to do their thing. My comments to Jon were in regards to even bothering to amp up with this one considering the volume unplugged. It's loud. This thing sings like you've got an accompaniment playing back up. 12 string tuning for this one was standard EBGDAE with GDAE strings in octaved pairs and E and B doubled up at the same pitch. A clean amp setting produced some of the most amazing crystal, yet full tones I've heard. Octaved pairs really sound brilliant and left me wondering why there are so few 12 strings out there. Obvious comparisons were to Led Zep's back catalog, and one band in particular, Opeth came to mind. 'Coil' off the album Watershed is how I remember the sound to be. If you know it then that describes it best. No droning notes at all, from open chording to way up the top end , which is a testament to Jon and his build techniques. Needless to say impressive. Now punching a bit of gain into the amp (MESA 5:50 2x12's) produced a little bit less of the twelve string sound yet more of a subtle effect which was pleasing considering I was expecting high gain and all 12 strings to produce a wall of mush, and this was not the case at all. Clarity between notes was the overall big surprise and a good one at that. We even got in a bit of metal chuggin' to try her out too. Is there nothing this thing can't do? In conclusion I'd like to thank Jon for making the long journey with the 'toneflow' over to my workshop for a working over, and have to say that regardless of whether the toneflow chambering actually has any effect on sound, this guitar just sounds practically out of this world. If anything it's got me thinking of producing a few workshop build 12 stringers in the future. And if that's what you call Jon's guitar build one to aspire to, then to me, that says it all. Cheers, Stu

I hope you realise the implications of building a 12 string instrument and the damage you impart on the ozone layer. Stringwise, it's exactly twice the amount of damage done than a typical 6 string build. You unfeeling bastard !!!!! An aesthetically more technical looking 'Ethereal guitars' build with some excellent design cues. The vintage feel works for me with this. I remember when you first mentioned building a 12 string electric build and the need of providing a tonal palette that produces precise cleans without sounding brittle , yet also come into it's own once things got a little more dirty. Not an easy task to accomplish. Pick up combination would be crucial. The process of how to form the toneflow chambering , and provide airflow throughout was another impressive element to come out of this build. And regardless of whether the carvetop figure reminded me of a fat ladies derriere or a pig's arse really didn't matter, the point of me saying it more so was brought about due to the fact I've not seen figure quite like this in any Queensland maple billet, nor anything else. It's totally unique. I doubt I'll see one quite like it again, and considering every timber billet is different in it's own way , that's what makes it so great. No need for serial numbers when every guitar's top has its own unique signature. I hopefully get the honour of hearing and seeing this one in a week or so and I'm reallly looking forward to listening to how this build performs. I'd be happy to post my thoughts afterwards. Jon, if she sounds anywhere as good as she looks then you'd no doubt miss it once someone snaps her up. Cheers, Stu

My Gran passed away on Christmas Day last week. Not the best timing, although she had a full 93 years and went when she was ready. Condolences to you, Dan. Cheers, Stu

G'day Brian. It's been a while, eh. Hope you've been well. Can't help you with schematics but you may get some hometown help from here if you're interested. Clicky Look forward to seeing you there sometime. cheers, Stu

For carvetops, 5/8" to 3/4" is ample and the normal thickness. Orbital by itself will get you there no worries, it'll just take you a little longer to carve. That's all. cheers, Stu

My usual method is the same as DC Ross. Flap disc grinder, then orbital down the grits. Having said that, the last 3 carves I've done have all been done using rough shaping with a chisel, then violin plane and finally orbital. Mainly by hand tools. Why ??..................................... The method used is influenced by the carvetop timber as some tops are less conducive to a good clean carve with minimal burnout using a flap disc on a grinder than others. In these cases, I'll go back to hand tool methods for the initial rough in. Cheers, Stu

I'm in Oz and one of many that has joined together for a group buy from Jescar for Stainless and EVO wire. The shipment has pretty much reached our shores within the 6 to 10 days they had stated it would take. It's also far cheaper for us to purchase Stainless and EVO wire from them but no conceivable benefit to buy standard nickel/silver wire from them and shipped to Oz. For the true bulk buys (like ours) the prices do drop significantly and worth pursuing. Pound lots minimum is correct, and that really isn't much. Cheers, Stu

Welcome Tim. Well you've found Tim Spittle's website for your figured tonewoods so that's a cracking start !!! He's good for alot of acoustic sets too. +1 for Tim @ Australian tonewoods. I get some of my electric tops and acoustic sets from him. You've started on the right foot by reading and hitting the search button, in fact there'd be very few questions that haven't been asked and answered in previous posts. Welcome aboard. cheers, Stu

F14 ??? does not exist. Pinus Radiata comes in merch grade, F-7 or new strength coding is MGP-10 and MGP-12 Hardwoods (Tassie oak) F-17 supa 17 or F-27 You've got a router, chamber it . Failing that, go to a reputable timber merchant and look for any of the following. Blackwood Qld maple Huon pine (lighter than typical Qld maple) Bunya pine (lighter than typical Qld maple) Tassie myrtle (lighter than typical Qld maple) Qld walnut and U.S. walnut Alder (lighter than typical Qld maple) Ash (lighter than typical Qld maple) Makore Silky oak Tassie oak Fijian mahogany plantation grade African mahogany (Khaya) U.S. oak This list is what is at my local Mathews timber merchant in melbourne that will do for bodies easily and you'll have similar up in N.S.W. Now you've got all the info, get to it. BTW. google some more because all the info is out there, you just gotta apply yourself.

He's in mid N.S.W. Pete. If you're not able/willing to go to some of the suggested places listed in this thread (and your other one which mirrors this one also) to source decent tonewoods then you're circling back unto yourself with Bunnings F17 grade Mountain Ash/Tassie Oak and chambering for weight reduction. Fine for lintels, beams, deep joists for house framing but definitely not furniture or instrument grade. Do you own a router ? cheers, Stu

G'day Replaceablehead. PSW has it on the money. If you're choosing to go to Bunnings to buy your timber, and especially mgp10 stud grade pine, you're going to get what you deserve. You buy cheap, you get cheap results. You'll get more stability from MDF. I posted a reply to your thread about sources for timbers in oz about a week ago, but one of the mods accidentally wiped it. You also mentioned about the figured timber prices on Luthier sites in Oz being very expensive and what's the point if you "just paint over the top". I feel you are misguided. Figured timbers usually get clear coated to show the timbers beauty off, not to hide them under solids . Try Mathews timber in N.S.W. that's a start for you. And ask lots of questions while you're there. Failing that, if you're hung up on getting stuff from Bunnings (Don't agree there) then at least hunt out some quartersawn stock of straight Tassie oak boards. Definitely not ideal but certainly more stable. cheers, Stu

Guitarstoolmaker............... They no doubt are very good and think it's great you're making them to sell. I got no issues there. A sense of humour would be nice though I got more jokes , but will try to abstain................. cheers, Stu

Very nice stool there. Quite firm too. I also make stools , although not quite as functional in the musical dept. . Sorry guys, it was there for the taking !!!!

There are many great builds and I could see myself picking them all up to have a bash on them. Let's face it, if they make you want to pick 'em up, you're there in my books !!!! Having said that, there was one that carried far more than just depth in the beauty and comfort department. A multi-blended mix of simplicity in styling and thinking on a total other level. It's also more than just Aussie pride, it's Aussie awe. Well done Perry. cheers, Stu