darren wilson

That's a good start, sp00t! There's something weird about that carved top, though. It looks like the middle is carved out as well as the edges, so you've got this weird ridge running around the body contour, instead of the middle of the top being higher and the carve sloping down towards the edges. Don't most people also laminate the top to the back before carving it? Seems like it'd be a lot harder to fit and glue it after it's all carved and contoured. Also check out the tutorials here on how to cut a proper monkey grip. (Also something most people leave to the end, by the way.)

Is there any information about the trems out there on Forged Classics site (or elsewhere)? Where can they be ordered from?

John Taylor (don't laugh... take away the bass lines from classic Duran Duran songs, and most of them are pretty forgettable pop tunes) Alain Caron (must be seen to be believed) Pino Palladino Jaco Pastorius just to name a few...

Well, the money really is my secondary point. You're building a guitar using exotic woods and then taking a bunch of that wood away in order to put a floating trem on there, which further isolates the strings from the wood by its very design. My other main point is that you're making a guitar that is VERY complicated and you don't have any experience making simpler instruments. It's a very fast way to get overwhelmed or frustrated if it's not working out as planned, causing you to abandon the whole project. You say it doesn't seem hard, but lots of things seem easy until you actually try them. You've gotta learn to walk before you run. A simple two-piece body with a bolt-on neck is a great way to learn most of the core skills you'll need to start working on more complex instruments. Things like carving, cutting, routing, gluing, fretwork, electronics, etc. Deep tenon neck joints, LED inlays and carved tops are things people spend YEARS learning how to do well, and you expect to be able to do it all on your first instrument in the span of a few weeks. I admire your ambition, but i think you need a reality check. Accurately cutting and fitting a deep tenon is going to be tricky if you have minimal woodworking experience. LED inlays are tricky enough that there are only a handful of people in the world that even offer to do this work on guitars. And i'm sure we've all seen our share of really poorly done carved tops and bodies. You might want to experiment with some less elaborate designs to minimize your chances of ending up with some expensive firewood. Oh, and don't forget to factor hardware into your cost estimate. You'll have to add at least a couple hundred for the Floyd, tuners, etc. I hope it turns out how you want it. If it does, you'll probably win a little respect around here. But by continuing to insist that all of this stuff is easy and a first-timer should have no problem with it, you're disrespecting a lot of people here who have worked for years to develop their craft.

My vote is for... sp00t.

Yes. Les Paul pickguards are attached by one screw up by where the neck and cutaway meet, and one on the edge of the guitar where the metal bracket is attached. Some LPs don't have pickguards, and i personally prefer that look.

Gotta give PRS credit for not resting on their laurels with this one. Yes, the 513 Brazilian is going to cost an arm and a leg and collectors will probably snap them all up. But if the concept flies, i would expect we'll be seeing a full line of "513" guitars, including more modestly appointed ones designed more with players in mind. (Did anyone also notice the two new non-signature SE models added to their lineup as well?) The 513 designation comes from the pickups and the switching (5 single coils with 13 switching options). I'm curious to know how that system works. It strikes me as being a bit too complicated for what gigging musicians are likely to want, but might be a great on a studio guitar.

I've been reading about (and seeing) Kahler flat-mount trems with increasing frequency over the last couple of years, and i'm wondering where they're coming from. Has somebody started manufacturing them again, or has some long-lost stash of original units been found? I'm not really interested in acquiring one (i have no desire to return to the days of having to solder all the wraps on my strings' ball ends, thank you very much) but i'm curious as to where they're coming from. They're sweet, smoooooth trems if you've never used one before. And with proper string stretching, they did stay in tune very well. They just didn't do extreme whammy craziness as well as a Floyd design.

For your first guitar, i would suggest trying something simpler than a "deep tenon" set neck with a carved laminated top. Once you have a little more experience (and confidence), you'll be much better equipped to tackle the tougher challenges. Why not add another laminate to the back so the body is maple/mahogany/maple? Or maybe add another darker wood under the top to give a nice accent line? Personally, i think it's a shame to invest all that money in nice tone woods only to cut away huge chunks of it to put in a Fender/Floyd style trem.

I'll add my voice to the chorus here... great job! I can see where you've drawn your influences from, but you've very thoughtfully blended them nicely into something very unique. It's aesthetically pleasing and looks very functional. What kind of neck joint is that?

Dunlop actually has a model of strap locks specifically designed for recessed mounting. I tend to prefer Schaller strap locks. They just feel more secure to me than those ball pins. But i do have to admit that i love the look of the recessed strap locks. Just don't forget your strap!

Very nice. I've totally had a thing for Firebirds in the last couple of years, i don't know why. A honeyburst might look nice with that top. Or do a nice double-black stain and give it a rich deep red burst. Or how about a nice tiger eye burst? I've been seriously thinking of getting a 7-string Firebird made, but more in a traditional Gibson style, with the mahogany/walnut neck-thru and mahogany body with a vintage burst on it.

That thing is going to have such a limited appeal. Personally, i can't stand the way it looks. And quilted maple isn't even on my list of desireable-sounding acoustic guitar woods. It'll probably sound overly bright and shrill, which is probably why Vai likes it. Ugly colour, ugly inlay.