Dave I

Kahler makes a stud-mounted Hybrid to use on typical TOM-style bridges, i.e. LP's. They require a neck angle, though. I'd make up your mind whether or not you're going to have a neck angle, because the flat mount Kahler can't have a big angle or it won't work properly. I would build the guitar flat and do all routing on the flat surface (make sure to have the parts you're installing on hand) before carving.

Thanks. I am not going to have a neck angle. I will either carve on the area around where the Kahler sits (keeping the same width of the carve around the whole body), or just round the sides and keep it a flat top.

Read through the pinned post on Kahlers and check out their website. Both do a great job of explaining which ones to use in which situations.

Thanks. I started to read the Kahler sticky post. I will go through and find which one I need.

-Cheers

ody shape has nothing to do with shredding. That's all in the player, not the instrument. Prince, Les Paul, and Yngwie Malmsteen all shred on vastly different body shapes.

As an aside, that may be true, but I am not as good as those guys. As such, I need all the help I can get (hence my preoccupation with fret access, and other factors).

-Cheers

I tried a few searches for this but was unsuccessful. For those of you too cheap or new to guitar building to buy something like AutoCAD, what is a good alternative for creating guitar blueprints? I think it would be great to design my own guitar, granted borrowing from pre-existing styles but still tweaking a few things. I am not an artist so do not want to make free-hand designs as that is a recipe for disaster. At the same time I do not want to spend thousands of dollars on software if I can avoid it. Any good shareware or basic/generic software that will at least get me the rough shapes so I can make some templates and whatnot?

If there is already a thread talking all about this, or some good keywords to use in finding this, please feel free to just give me that instead of rehashing what has already been said.

-Cheers

One additional concern. Is there going to be any problem doing a carved top body with a Kahler tremolo? Can I just route for the Kahler and then carve, or can I carve the edges while leaving the top flat where the pickups & tremolo will go, or will that still be a problem either way with that style of trem?

-Cheers

Personally, I'll argue all day long that body shape has nothing to do with shredding . . . From your words, I hear you concerned with upper fret access. As long as there body is cut deep enough, the exact body shape is relative immaterial and all a matter of personal taste.

Yeah, I was only referring to the shape as it might impact fret access, for me, nothing else.

An important aspect to define now would be what type of neck joint you'll be using: bolt on, set, or through. All three pose different problems and solutions for enhancing access.

Good point. I am planning on bolt-on with a contoured heel.

-Cheers

I have a guitar in mind for my high-gain shredder guitar. However, I thought I would run a few ideas past to see if it is a good idea or if I should simplify it. Here is what I have in mind:

A 22-fret guitar with either an RG or PRS-shaped guitar with an HSH pickup configuration and a Kahler tremolo.

My question is two-fold:

1) How much difference in upper-fret access is there on a typical PRS-shaped guitar? Can I make the cut on the treble side deeper, or would it look weird and leave the RG-design as a better option for easy reaching of the frets?

2) I am thinking of the humbucker-singlecoil-humbucker configuration mainly for diversity and to go from distorted/overdriven/lead tones to quieter cleaner tones within songs. If I go with the HSH configuration, would it be feasible to use the typical Les Paul knob configuration using three of the knobs as volume pots with coil splitters and one as a tone knob? I am thinking that way, with a five-way selector I can go between a quasi-Strat sound to a really crushing high-gain or just dirty/distorted line at the flip of a switch. I can also put the volume for one of the pickups on 0 and use the coordinating position(s) as a kill switch (ala. Rage Against the Machine). Does that sound like a good setup, or should I use a different configuration, or just stick with a simpler HH pickup design? Additionally, would there even be enough surface area on an RG to accommodate a four-knob & pickup selector setup?

-Cheers

OK... before we get into a pissing match, I'll elaborate.

I did not mean it like that. Just curious as to why or how people prioritize elements of importance when it comes to what makes an instrument sound good. Nothing more.

I DO appreciate the reply. I was not intending to get into any kind of argument, just wondering, so sincerely thank you for answering.

-Cheers

From my own experience, the first thing you should read up on is scale length, it's reason for being and it's effects. Google it and read up. This in my opinion is the first building block in ANY guitar construction. Again, my opinion, that's it, that's all.

May I ask why? The reason I ask is that some people think it is pretty important, while others have said the the woods used have a greater impact, while I have heard that the pickups and electronics (i.e. wiring, pots, active/passive, etc.) make the most difference. I know they all impact each other, but I am sort of trying to get the opinions from all of the sides here. So feel free to elaborate, if you are comfortable doing so.

-Cheers

So for somebody new to this, do you still recommend just dealing locally, or going through somebody who has experience testing the tap tone for resonance and other qualities ideal for instruments? My worry is that I will make an awesome looking guitar that sounds dull and lifeless, or just not very good. I would assume that is less of a concern with electrics, but good pickups will still pick up the sound of the vibrating wood to SOME extent.

So when do you go from relying on somebody like Marc from Gilmer Wood, or trusting in wood from StewMac or Warmoth (if ever), and just getting it locally based on what looks nice and seems to have a decent ring to it when you tap it?

-Cheers

I am planning WAY into the future for my second build and thinking from a theoretical standpoint a 25.5" scale should be best. This is for a dual-purpose metal/blues/jazz-fusion sort of guitar. Basically an HSH w/ coil-tap Super-Strat that I want as clear sounding as possible.

HOWEVER, I have probably medium-sized hands and a fairly short pinkie. I am planning on this guitar to be used for some rhythm, but mainly riffing, and doing runs up & down the neck (i.e. practicing scales, learning Hendrix and Alice in Chains type stuff), so while I will be doing some open chords and 1st string bar chords, I will also be in the second octave in the 12th string and up a bit too, so I would like something with decent space between the frets up there.

Two questions:

1) In practice, how difficult is it for people with small hands to play 25.5" scale guitars? I have played Strats and Jackson Dinkys a few times without really noticing any problems, but only for limited periods of time.

2) How much tonal difference is there really between, for example, a Stratocaster or Super-Strat with a 24.75" scale and a 25" or 25.5" scale? Presumably somebody has done the same or similar build aside from the neck scale; if not I guess any educated guesses would be the best I can hope for.

If there are any threads addressing this, please feel free to drop the URL. I did do a search, but got too many results so my apologies if this is a redundant thread; I could not think of better/narrower terms.

-Cheers

At that point, it'll be more down to what pickups you use... each interacts differently with each wood. It's subtle, generally; and with a maple thru-neck you'll be getting a lot of the "maple" tone as the strings primarily resonate on the neck. It's all a sort of voodoo though; each piece of wood and guitar is different.

I am planning on a bolt-on Maple neck, not a neck-through. But I get your point.

Sorry for the essay, but I felt I had to qualify myself and explain where my reasoning came from.

Hey, I was HOPING for an essay. I need all the information I can get just so I make an informed and smart decision.

Still not sure which way to go, but leaning toward Alder; trying to get the sparklingly clean tone with good clarity for the high-gain stuff, just to get a lot of diversity. I love Mahogany, but my Hamer Studio covers that already so I could go either way. I just want sparkling and clear without super-bright or shrill.

Regardless, thanks for the information & opinions. They are greatly appreciated!

-Cheers

Alder will give you a more snappy, clear sound, while mahogany has less "presence" and more lower-mid "push."

For a clear solo sound alder will give you slightly more "cut" and snap on the strings, while mahogany has a warmer sound. Imagine a gentle EQ "smile" and you have alder... go for a slight angle towards the bass side and you have mahogany.

Thanks!

For what it's worth, I am playing through a Marshall Vintage Modern 50-watt, either through the high-gain mode or a Fulltone OCD pedal when I am going for the quasi-metal sound. Not sure if any combination would be better suited for that setup or if it makes any difference whatsoever.

-Cheers

Just to revise this and ask an updated question with my train of thought.

I am planning a bolt-on Super-Strat, maybe with a 24-fret body cut-away for better fret access, but only 22-frets for better (for my preference) pickup-placement. Planning on a 25.5" scale, 12 or 14" fretboard radius, probably going to go with a Floyd or a Kahler tremolo, HSH pickup config w/ coil taps, and would like to try a blended heel or something that is attaches without a heel like the Dingwall Afterburner II bass as long as I do not have to put a pickguard on the front of the guitar.

Anyway, as for the wood choices, here is I am considering:

1) Mahogany body with a Maple/Walnut laminate neck and possibly a Maple cap.

2) Alder body with a Maple/Walnut laminate neck and possibly a Maple cap.

3) Basswood body with (you guessed it) a Maple/Walnut laminate neck and possibly a Maple cap.

4) Mahogany body with a Mahogany neck, and possibly a Maple cap.

Any pro's or cons between these body constructions? I am considering Alder or Mahogany as my primary body choices, not sure how to decide between the two. The preference for the Maple in the neck in this case for a little more articulate sound and attack, and a Maple/Walnut laminate made sense for more strength (as recommended in Hiscock's book). However, I am planning this for more of the metal and high-gain stuff, while doing double duty for the really clean stuff that would be good for practicing my technique without hiding behind any any muddiness yet still sounding full and not shrill.

I have some time before I make this (getting ready to start my first build on another guitar), but any advice for making a decision would welcome.

-Cheers

For those of you who are fairly accomplished builders . . .

Do you still buy guitars, or simply design what you want and make it yourself? If you DO still purchase guitar(s), what determines if you buy it or build it?

-Cheers

I had my first night of my wood working class tonight. I just got the safety talk and run-through of the machines, did not actually build anything yet. I am probably building my wife a kitchen table first, to make her happy, then moving on to a guitar (first any molds, jigs, etc., then start the actual instrument).

A couple things that are kind of cool are that I have access to a CNC machine and a laser-cutter. I am wondering, how can I use this to my advantage? A few quick questions:

1) Will this be more useful in building an electric guitar, acoustic, or semi-hollow archtop design? Just curious if one design will be more likely to use the technology I have at my disposal. I was planning on starting with an ES-335 clone, but if it would be simpler to start out with an electric on the CNC, I would at least consider changing the order of my builds.

2) How do I use this? The instructor has years of teaching wood working, yet is new to CNC. The program, I believe, is En Route. Can I just get some sort of CAD plans and load them into the computer, or use the program to make plans from scratch?

3) How much of the guitar building process can/should I use the CNC machine for?

-Cheers

I just want to play devil's advocate for the bolt-on real quick.

This is a the neck joint on a Dingwall Afterburner II bass:

The neck joins the body at the 24th fret. It's got really good upper fret access, and it looks good, too. That's what I mean when I say a lot of people haven't seen a really slick bolt-on joint before.

Hey, that IS really slick!

If you really want to stick with a V body . . . you can always push the fretboard out a little further so it is only the last one or two frets that are still on the body, if any at all.

Would there be anything wrong with a bolt-on 24-fret neck that was extended a bit out and attached to a King-V body at the 22nd or 24th fret with a really deep-set neck for neck stability and a setup like the Dingwall bass? Something in Mahogany, maybe Basswood or Alder, and slightly hotter (but not ridiculously hot) pickups? That sounds like it could be at least fun to try. I think the bolt-on might have a nice snappy attack for the music I am intending this planned guitar for.

Mainly just throwing that out there to see if there are any inherent flaws in my rough planning.

-Cheers

As for the best "Shredder Guitar"... That's a stupid question. Design the guitar based on YOUR preferences, not other people's.

I was mainly asking about the "best 'Shredder Guitar'" for upper fret access. The King-V seemed like the perfect choice, but I am hearing it does not have the best access to the last few frets. I am not a fan of the Warrior, Explorer, or Kelly from an aesthetic standpoint, and the V's have grown on me a bit. Still, I have shorter fingers, so that could be a big con for the King-V shape. So a deep-cut Super-Strat might be nice, I usually like the simple, understated but classic guitar designs the best.

As for the rest . . . Just gathering opinions and recommendations for things to try I might otherwise overlook or not think to try/consider.

Thanks for all of the replies so far.

-Cheers

Make a small donation to Project Guitar and help yourself in the downloads section!

Keith

Thanks Kevin! I can do that.

-Cheers

One more thing, I am thinking of this as a guitar to complement the rest of the guitars in my collection, which includes (or will) a Hamer Studio, Agile Cool Cat Prestige (Gibson L5 clone), homemade ES-335 (planning on making that this coming spring or summer), and a Les Paul Double Cut (homemade build planned for late next year if all goes well).

Not sure if that affects anybody's recommendations or not.

-Cheers

Hey all,

For one of my eventual builds, I would like to make a shredder guitar of sorts for putzing around with high-gain and doing metal playing. Just for fun. The other, serious, consideration is making a guitar that is super easy for playing scales and modes up and down the neck. So what I am really looking for in the design is a super fast neck with the best upper fret access. It is also a way to indulge in the guilty pleasure of playing the old Megadeth, Metallica, Pantera, and Slipknot tunes that I grew up on that are not my main-stay but really fun to play and great ways to release my aggressions.

Design: I am tossing around the idea of a point V-shape, either an off-set V like a Jackson Randy Rhodes or a symmetrical-V like Dave Mustaine's ESP or Dean designs, probably with a Floyd (not that I play much vibrato, but just to have it as an option). However, I would also consider something like a double-cut Jackson Soloist or Carvin DC design. So my design questions are:

1) Will the V-shaped guitars sound much different in the neck pickup with the less-mass at the neck joint, or offer much difference in upper-fret access than something double-cut like a super-strat (e.g. Jackson Dinky or Soloist)?

2) Aside from being impossible to play sitting down, is there any noteworthy con of making a V?

3) Neck-thru or set-neck?

4) What would be a good scale and profile for the neck?

Wood: I would like to use this for high-gain rock, metal, and any noisy/experimental stuff that might pop into my head. However, while I would like it to cut through and have a nice metal presence for riffs and (don't laugh) solos, I also do not want people's ears to bleed, especially on the upper frets. Would all-Alder be a good choice, or Maple neck and Alder wings? Something else? I am kind of going for a nice clear sounding guitar capable of Megadeth's guitar sound, or the early Metallica sound: nice clear clean-tone stuff and good clear heavy sounding distorted tones, without it being TOO bright or harsh, and I THINK Alder might give me the best range between aggressive, cutting tones and Fade to Black sad, minor-scale depressing or pondering sort of stuff.

Any thoughts?

-Cheers

I would like to start making templates and stuff for my future ES-335 project. Where can I get the best plans for them?

Sort of a side-question, what would be the difference between making an ES-335 with F-holes and making an ES-335 with a solid top (e.g. no F-holes)? Any pro's or con's or is it mainly aesthetics since this is a semi-hollow electric guitar? If there is another thread, or a book, that talks about this do not be afraid to save yourself some typing and just tell me to go look for it. Thanks in advance?

-Cheers

I got the Benedetto book. I have read through the body chapters, skimmed the rest about the neck, fretboard, binding/inlays, etc. Three quick questions:

1) Even though I have not done woodworking in about a decade, the bending of the sides and the top and back (drilling holes, chipping away excess, and shaving/carving the insides & outsides so it looks smooth and flexes properly) seems kind of intuitive. Some of the other stuff with the neck and binding seems a bit more complicated, but I think I can wrap my head around the body. Would it be o.k. to start with the body as long as it makes sense and I go slow? Or should I do some kind of starter project first?

2) What would be a good starter project that will give me some woodworking skills that will translate over to guitar making? Would making the mold, side bender, and any jigs needed for the neck and anything else be enough or should do something entirely non-guitar related first? Any ideas? I could do something for my wife or my baby girl. Just not sure what.

3) Where is a good place to get ES-335 plans? And/Or a program to do my own design or modify designs CAD-style (without CAD, which I do not have).

-Cheers

I would recommend you spend the time to make your jigs and molds. I believe you will find with the right tools making an acoustic is really more fun and accurate. The best way to make an acoustic difficult to build is to not use good jigs. Most of these tools/jigs/molds you can make yourself and make it a little less taxing on the pocketbook. The shop you have access to should prove to be gold for making them. These are the ones I would consider a must; body mold (don't make it too thick, as it will make using it difficult), side bending form (if you buy a heat blanket for about $100 you will never have to fight the task of bending, a wise investment right out the shoot), brace radius jig (probably best to make it with 15' and 25' rad.), 15' and 25' sanding dishes (match your radius jig), a binding jig (laminate router support) there are a few basically three main styles that seem to work well, choose the one that suits your available space, go bars and deck (if you want to use a vac. clamping system that is an option, but a go bar deck and your sanding dishes are very smooth and effective), a nice shooting board is handy also, if you plan on making your own bridges from scratch make templates and jigs for that also (might be easier to purchase a more standard pre-shaped for your first couple), circle cutting jig (rosettes).

Shop tools that you may consider purchasing, or maybe you wll luck out and they will be available in the shop you are working in. Thickness sander, this is a SUPER slick tool for thicknessing many parts you will use (backs, sides, tops, rosettes, veneers, binding, purfling, headstocks (if you have an open end model the list goes on). bandsaw is super handy, but I find 14" to be a min. for most tasks and accuracy.

Hand tools to think about. Larger plane for jointing and shooting, small hand plane for other smaller jobs, basic scrapers, Chisels, small hand saw, buy a bunch of small spring clamps (for kerfed linings) these are the little 1-1/2" guys you can buy for about .25 cents each(buy about 40), most of your neck tools are pretty much the same acoustic or electric, bridge pin reamer is handy (choose 3deg. or 5deg., I have always used a 3deg.). Learn to sharpen your tools so they are always deadly sharp.

As an aside, this is a nice list of things to have for the build, especially the molds, jigs, the heating blanket being a good investment so people know it is worth buying early and not after several unsatisfactory builds, etc. Some of that is not real obvious to newbies like me, so thanks for compiling it into one place!

-Cheers

Are you building an archtop?

Semi-hollow body with a carved archtop. Not a true archtop though.

I would do at least one practice top, that is major major carvin, and how good are you at carvin? Woodwroking?

First major carving on my part. First woodworking project, other than installing a laminate floor (which I do not think counts) since high school (~12 years ago). Fortunately I will have a teacher there to help me out, and I will make either a table, book shelf, CD/DVD rack, or something for my wife first. I think I will make some tops to practice on first so I can get some experience in carving before I do the real thing. Seems like a good idea.

Good luck and measure 3X and cut once.

Thanks! I appreciate it.

-Cheers

HI Dave

Check out my website www.diquattroguitars.com and have a look at the hollow body i finished in March . If you have any Questions i will be happy to help you out.

Do you have any inside shots of the PRS-style hollowbody? That one is really nice looking. Just curious how the body is designed and what you hollowed out on it. Is it a semi-hollow or fully-hollow design? Nice job on it either way.

-Cheers