low end fuzz

im not very good w/ computers; i think they call it computer iliterate!?

so idont know how to put up my own pics; but what i mean is;

the board i would buy would be 8" wide so i could cut out 3 parts of my neck;

it would look like 3 side views of your guitar; you would cut these out so you have roughly (3) 1" squares of your design (side profile) then you laminate (glue) together all three together; so your bandsaw marks will be the front and back of your guitar; like where your fingerboard is going is what use to be on the inside of your slab(?)

im starting to confuse myself, so i'll try and find a site that is going through a neck thru construction

uno momento

stop using centimeteres

this is what i would buy for a 3ply neck thru bass

neck:

48" long

1' thick

8"wide

now i cut this into 3 side profiles and glue them together; now it is 3'' wide, ok

Body

you have to decide what your doing;

I'll tell you how i do mine that has a slab body with a top

Slab

usually start with at least 1.5" thick and put a 10mm thick top on it

this will be a total of 49mm before planing

you want to end with 44mm

so...

Body

1.5" thick

20" long

each side at least 6"

so make it like a

40" long

1.5"thick

at least 6"wide and cut it so they will on both sides of your neck; whew!

Fingerboard

25" long (theres extra)

70mm wide (again extra)

at least 10mm thick because you have to get this flat so planing will remove more than a bit

hope i dont drive you crazy!!

fool proof- find guitar model that is similar to what you want (can be a bolt on even) make your measurements and add on an inch or two for end checks (funkies in the wood) and human errors;

thats all you need to know as far as buying the lumber;

you can worry about your angles after your home and sawing

peace

is the new pick guard covering all the old holes?

just drill new holes, its perfectly legitimate; if the the holes are just off and your worried about making one giant oval hole, fill the old hole with glue and wood (not a toothpick but the same idea; narrow plug) and then redrill it ; remember to undersize it so you actually have to screw it in, not too tight a hole that it cracks the laquar but you get it

neck through lumber, i usually start w/ 48" and make my head stock angle (when i cut the profile i include the angle; so after the angle) i leave around 8";so i have extra wood to make my neck longer to the angle on the body if i need it when im planing and i still have lots to cut off the top and bottom; when all my laminates are together the thickest part is around 3" across

on a basic body shape (one high horn one lower) i try to give myself 20" and 17" that will give you play room to match up the look within a few inches

before sanding; after thickness sanding and starting 'hand' sanding the body and neck body are 44mm

the headstock thickness usually comes out to 16mm and 17mm

a profiled nck is usually between 21-24mm; but you didnt ask that

be careful with bringing some wood over seas, im no expert but im pretty sure its like bringing produce over

a wise man once told me that, every glue line compresses(i think thats the right word) the sound that will naturally resonate through the guitar;

ive started putting together a body (like a 'stripe' guitar) of many pieces, basically cutoffs that are getting all glued in a line, then cut open to a bookmatch, this is made up of wood and veneers(i know its ALL wood)

so i'm building up a block 8 in. wide (approx 90mm thick for resaw)

ive gotten to 5 in. and am far over 20 laminations;

at this rate the body is going to have 80 laminates from left to right;

my origianal idea is to have this as a bookmatched body for a 2 -piece bass.

im wondering if i should change to a neck thru design with these as wings so the one piece will have resonance directly through the neck to bridge (i think faster than i type; can you tell?)

before this was mentioned to me by someone i respect very much; i was under the impression that a flawless lamination was as good as a solid piece of wood, but i guess with so many venners soaking up adheasive; theres alot of glue in that bad boy;

comments?

well, what i was going for was a method;

and types of stains; ive used black and walnut type stains just to make things darker but never any colour.

should i buy that powder and spirits or is their a good brand of colour stains that will take to an oil finish?

perfect!

that almost makes tooo much sense

is foil tape conductive enough for sheilding/common ground?

i know i may be getting silly; but has anyone had any luck staing the ghost of macassar ebony another colour?

i was thinking a red;

id worry about comprimising the black; but i guess it wont get any darker?

1.5' (or is it '') inches, anyway

of a beutiful spalted burl (body;1 piece) with a buckeye top;

whenever i use burls or spalted wood, i smother it in epoxy and drown it in laquer; this was no exeption;

i considered it a sucess, beutiful body with no raised/low spots; it was hanging on the wall until i built an appropiate neck (which turned out to be 2 - .5' gabon and a tapered center strip of bubinga(not important))

well i dont know what happened, it looks like my wood shrivelled inside and or seperated from the finish;

its in a lil laquer cacoon; because there is (basically) no cracks in the finish (slight relief crack in the lower horn) but ive never heard of this;

did it just keep absorbing everything? theres more than a good chance it was partially green, but nothing worse than ive suceeded with before; just never a full body;

did i do something taboo or is there a way to prevent this

i took it as alesson to keep my spalts thin.

anything to be wary of?

the coats of oil would be dry of course, but would it interfere with the oils properties?

wet sanding in between coats of tung oil?

would water interfere with the curing of the oil?

just like laquer, the coats would be dry; but......

this should actually be in the finishing section; sorry

if its figured bubinga; birdseye always has a special place in my heart with it; i think with the clash of colours and the effect you get it really brings out the craziness of the bubinga; although its never top and back, its usually a center strip and wings deal

id assume the angle of the string off the bridge would would stop the string enough from vibrating to make any noise; like the 'ting' you hear running a pick across the the strings past the saddle;

but it sounds like something i wanna try now; let us know how it works out!

that looks like a beutiful instrument;

thanks for the pics;

do you have a closer photo?

is your saddles running along a set screw or something?

thanx again

i dont know how you can say that; i always sheild my cavities; and as far as i know theyre done well;

and ive caught myself a few times with a buzzing that i freak out to find until i remember my hardware to be wired.

but i like the idea of nobody bashing not grounding the bridge!

would i really need a tailpiece?

the effect should be obtained from feeding the the strings through the back and up over the bridge?

there would be approx 2 inches between them (kinda like a tun-a-matic)

im not looking for it to be adjustable; or individual saddles or anything, kinda exactly like an everyday acoustic bridge;

but i was also wondering about grounding;

if the bridge is not metal i cant ground it; but will the strings/machine heads make hum?

maybe some metal bushings/plate in the back holding the strings that i can ground?

or does no metal bridge elinate the extra hum floatin around?

thanx; i'll check that site you mentioned, but i dont think its what im after

I dont really have any questions persay; but has anyone tried this?

or seen like a carl thompson up close?

im gonna experiment anyway; im trying to remove as much metal and plastic from my basses as possible;

im kinda thinkin of shaping it based on an upright bass' bridge, with a 'string thru' feed .

but the few things i'm wondering is,

should i make sort of a point at the top of the bridge, where the the strings lay on? or

should i make a saddle sitting in a bridge like an acoustic?

or would having any size top and just have the edge being my "intonation' (kinda intonated)

i think the saddle idea would make the string height easier to control, but i know id be dissapointed with the look;

any experiences/thoughts/questions of your own; would be awsome

i cant find anything on this topic anywhere!

is it that crazy??

i dont think so

thank you