HuntinDoug

Man...Love the truck!..The guitars nice too. Interesting Floyd mount.

Sounds like a design flaw of that machine. Every machine has at least one "quirk" like that. I'd keep my eye on the other axis' too. I found it interesting that the Probotix comet has 2 motors on the long axis... It seems like they would fight each other if they were not tuned perfectly. Here are the couplers on my new machine. They have an interference fit plastic sleeve that breaks if it is torqued over the design limit of the motor. They work well. My old machine was a belt drive.

That is a beautiful guitar:

Don't panic yet. The motor may be ok. If it was a motor problem it would most likely be intermittent. Does your system have steppers, or servos? It may be more of a "track interference" type problem, or a bearing problem. That is the advantage of a closed loop system. If there is a coordinant problem, the machine shuts down before it scraps the part. If you cant figure it out by tonight...give me a call. PM me if you need my #.

If it slid sideways, and hasn't been trimmed yet, then what is the problem? Do you have inlays that are off center? Moving slightly to the side won't make a difference with the intonation. I'd trim it, hit it with a rad block, and run with it...

Very cool build. I have done a couple deer related projects myself. But, I have to ask...What is the scale length? The size of the guitar in the pic makes you look 7 feet tall.

Video is mid screen: http://www.jaylenosg...ty-old-parts-1/

Very cool concept & design. Cant wait to see it complete!

Jennifer Aniston... Jennifer Aniston... Jennifer Aniston... It didnt work...

Chucklehead.... chucklehead... that's it I'm leaving!

In my best Master Po voice: Ahhhh... Patients young Brett-Man-Son. Secrets projects are made to be shared...and code is written to be run.

Good... Now I'll be able to sleep tonight.

I'm interested in knowing the purpose of the small offset in the neck pocket & on the end of the neck heel:

I still carve all my tops by hand...Just too much fun to give up. On my necks, I do a full 3D with a voloute & all on the CNC, but I always do a final "finish" shaping to give it that hand carved feel. I use Rhino for all my modeling. It's very powerful. I have a 3D neck model that I use on 90% of my builds. It has a 13 degree HS with a voloute. I'd be willing to alter it to fit your specs...maybe trade for some top wood or something . I'd need to get specs & DXF's. PM me if you want to try it.

Hey Brett, A couple questions...What angle are you using on your HS? Are you doing 2D milling on the CNC, then carving by hand? Do you need a 3D neck file? Lemme know....

This one has gathered dust for a while. I should be able to get back on it next week...maybe . I did some design changes, and a quick mockup. It's hard to mock up black limba. I kinda dig the Paul Gilbert "Fireman" with the dual cutaways, so I decided to go that route. It will also have a forearm contour & dual bout scoops.

Yeeeees... The "assimilation" is nearly complete.

Yes....The advantage to this is that the gradient runs through the full thickness of the piece.

I stand alone....

John posted this link in another thread. It's a video tutorial on sand shading: http://www.thewoodwh...er-based-inlay/ I've been playing around with the technique for a while now, but I've yet to do an actual inlay. I can tell you it takes some practice to get the proper heat/wood thickness/burn time. If you decide to try this, I suggest you make 2 or 3 sacrificial inlay pieces to practice on. I've found that 1/8" seems a little thin and tends to want to burn. Also, I don't do mine like the video. I cut mine oversize, then shade, then shape the piece to fit the pocket. So, anyone who has ever worked with purpleheart knows that it is a dense wood. What most people don't know that when heated, it oxidizes and turns a darker shade of purple before it burns. I found this out once when I cut some with a dull table saw blade. This technique is the perfect use for lighter greyish pieces of purpleheart. With the lighter base color you can get more contrast. The pieces shown are about a heavy 3/16" thick, and about 2" x 3". As you can see I have several gradient degrees of fade. The advantage to this is that the gradient runs through the full thickness of the piece. I've shaded several species including figured maple. And I can say the harder, the better! Next week or two I hope to try some cocobolo, yellowheart, padauk, & redheart. I can definitely see a rose or some kind of floral pattern in my future. One other important note if you decide to try this: Don't do this on a kitchen stove or indoor burner. The dry heat is a lot different than boiling water. I ended up getting a 1300 watt hot plate to use near the bay door. And of course... BE CAREFUL!

Let's call this done...shall we? Steve, what is your progress?

My customer picked up his guitar tonight...He was more than happy with the overall playability after the setup. I had given him one of the Oktober (parable designed) Korean imports as a loaner. He admitted it played better than the LP, and with the right pups, it would sound just as good. I agree that the LP customs are the way to go if you want a LP. But, I'm still astonished that any guitar from the Gibson factory would leave in that condition. The QC tag had all the departments checked off, so either someone at the plant is blowing off their duties, or the standards have been lowered.

I'm in....I have a ton of veneer just waiting for someone who knows what they are doing. Shoot me your address, and what you are looking for.

I agree that you will have gaps if inlay is done by hand. I don't agree that 1/16" or even 1/32" is an acceptable gap. And...just for the record, I don't think Chris would "lambast" me. We have a mutual respect for each others work. Here is a recent example: http://projectguitar...showtopic=46543

What we have here is a failure to communicate... What we also have is not only a difference of skill levels & techniques, but a difference of "acceptable quality". By nature luthiery is perfectionists endeavor. Close-up pics of a persons work doesn't lie. If your work is tight...it shows. If your work is sloppy...it shows from a distance. With every inlay job, or any part of a commission job I always ask myself "would I accept this if I were the customer"? The work you put out will dictate if you will stay in this business or not. I always push myself to learn and improve no matter how clean my work is currently. And, the more accomplished I become, the more I try to pass on "how to's" to others. I also never stop learning new techniques...including sand shading. I just bought a dedicated hot plate last month for it, but I'm not ready to offer it to customers until the work I do is my opinion of "tight".