low end fuzz

after you got some finish on it, rub in one of those wax sticks or putty, for a cheap quik fix; should be fine, as opose to cutting a fillet and 'plugging' it

if you are gonna thin grain filler, you might as well fill the pores with sanding sealer, before clearing; it will be a lot easier to sand; not that i recomend it for really porous wood but thinning filler seems like a lose situation

thank you; its died pear veneer; prolly the cheapest of what i could use; does an exelent job; but looks funny when its carved into, like a tummy cut or arm rest

ya what the hell? i screwede up, im a post link virgin! i must of stuck it in the wrong slot; (does that sound dirty?)

the templates i made for this was my interpritation of a jazz bass, and i really dug it; EDIT:i suck at somehting here; this is all the pics i tried putting in links http://s68.photobucket.com/albums/i23/lowendfuzz/ can you guess what body wood that is? its common but now it smells like bbq; the top is a popcorn quilt with a 'tone block' (i love when ppl say that!) of purpleheart; the neck is lacewood with curly maple center; thought id try it this is the other one; kind of ;just the neck; but the body is the exact same shape of alder and painted solid black; i have no photos, so use your imagination this is the way i plan on doing the logo ,for awhile at least TM doing some fret work this neck is a one piece flatsawn maple rw f.b. totally unrelated spalted sg this is a piece i hope to use, its under survelience for the next while to see how its reacting; its a solid piece w/ wings so; it may not work; but i didnt want any more spalt tops, and it was just taunting me!

this is one i had i the booth a while back that ive been slowly assembling; i like it, but its been such a long project, i dont like the way ive done certain things which takes the thrill out of what i thought was gonna be a great lookin guitar; but i'll keep those crtisisms to myself and hope you enjoy the colours. shot from headstock another front shot the body has everything from bloodwood center, and mahogany back, to p.h.and maple accents and black/white/purple pinstripes; the neck is maple p.h. and mahog with a pau ferro board and lacewood accents; i opted for the passive emgs (b-grade) for the time being due to personal dissapointment, and it has a 2 band bartolini preamp for the electronics

oh piss! thats something i wanna do; and at least the outside pieces look more 'bookmatched' than a four piece

i think you got the idea of a 4 way consecutive bookmatch or a really wide bookmatch

chill, it was a joke; i know how serious you take those pinstripes; id put our flag on a design, but its a freakin leaf!

that is awsome! i mean, you ruined it w/ that hidious flag, but the work is astounding!

xanthus; the guy who plays it, said its right on, but i dont play guitar (exept for my paul stanley ed. washburn!!) it seemed small to me, but thats prolly cause im huge! (and play bass)

I've been asking this question all over these forums. How accurate is that guy? I've heard some nasty things about him, especially with the tele templates. I'm looking at getting an RG template over the summer, but I've heard enough negative press about him that I'm reconsidering my decision. I might grab an RG body off ebay and make a template off that, then I'll have a template and a beater body to mess with as well. hes not perfect; i tried the sg plans and i also got a jem one; he forgot to send me some special add ons i asked for, but when i emailed him about it,he sent it out at his expense; the neck pockets and fb were not a tight fit/match; but i use all my own templates for the important stuff like that ,so it didnt bother me; but to expensive for my liking (you wont find cheaper) but +1 for plans and making your own, its a smarter solution for if you wanted the legit sizes and what not

ahh; just wrap some electric tape around it and press it in; i wont tell.

routers are the way to go, and a nescesity; id go that route, even if you had to buy a 60$ router you'll need it later for the pickups and cavities

a valient effort; defnitly some cosmetic work could be done, but its suprisinly an intersting/intriging design, and pickguard; kinda ghetto version of the victor wooten yingyang;

what kind of endorsment requires you to 'buy' a guitar? free shirts maybe?

two thicknesses require 2 depths, imo or if they are in the same structure (inlay) inlay it whole and sand them equal (already in the board) any kind of thicknessing prior to setting in your piece seems to risky at least compared to when its epoxied in; your pearl should shine fine if you sand it and the wood its in to like 220; but it can be much better, just keep sanding with higher grits; dont bother buffing i.e. compounds/pumice,

$$$ secondly all the cutting and radiussing; and thats before you even find usable pieces; are you sure that fb wasnt made from pearloid? ive seen those ,but imo there hideous

thank you

are those chrome covers on vintage fender basses just asthetic; or is it suposed to capture/pickup the sound better being trapped in this metal box? ive never played one with it on; and i was thinking of making a decorative wood one; but it felt like it was intrusive and an accident waiting to happen; which got me wonderin, why the hell is it there in the first place? my thinking with covers is that you wanna hide this piece of metal/plastic from abstructing a beutiful piece of wood; but to throw a piece of chrome twice the size ,throws that theory out the door; and i know leo designed these 35 years or whatever before anyone thought of putting wood over instead, just curious; g'night

hijacking con't who is this andy guy? website? store name? thanks much very;

One tip I picked up from Andy DePaul (great place to buy inlay blanks, BTW!) was to paint the backs of the inlay blanks with enamel or white/pearl colored fingernail polish. Then, if your inlays get a little on the thin side when sanding, it's a lot less noticable than having the dark colored epoxy or ebony board showing through. Worked great on mine! thats sweet! do you paint ti on the final shaped inlay prior to install or before the shape is cut? im wondering if enamel would give real pearl more stability along the natural hairline crcks; or if it would make it so hard it would shatter trying to cut it.

thats a cool little tip there about carveing the perimeter of the design for chip out! my tip for after the cutting and shaping, is to tape off around all your inlays well, so you can smush and wipe off excess epoxy into all the crevases without covering your board making extra work and filled in fret slots

with no real idea what it is, i almost want to say they carved a square out of whatever wood, thats not mahogony; and stuck a block of mahogany in it; IF thats the case i would say why bother; if you think theres a wood out there that has the sound you want ,make the whole thing out of it; for sound purposes, the less glue the better;

? i hope you dont mean one big hit in the middle for each fret? do you? if so (i hope not) hit the tang farthest from you in to place, now a 1/4 of the fret is in and the rest is sticking straight inthe air (not stright up, but you get it!) now just whack it firmly in a towards you fashion, 'folding' the tang into the slot maybe 1/4" at a time; easiest thing in the world; and you can do it on a blank carved or finished neck; even if your one of those strange people that radius and fret their boards prior to gluing , with no special cauls or nothing; just remember that you are hammering and fret end cutoffs are much stronger than wood! so keep a clean area with some support so your not chasing your neck all over!