darren wilson

If you glue the wings at an angle, you would still have to remove the material from the neck-thru part of the blank to get it parallel with the top of the wings. The only time you wouldn't have to do that is if you're wrapping the body wings around the front of the neck-thru blank, but then you'd have to angle the mortise that the neck fits into. But then you'd still have to do something with the back.

Look at Seagull acoustics. Really great guitars for the money. P.S. I'm pretty sure all 12-strings are steel-string.

David, that is beautiful!

Perry: That sounds about right. I did a solidbody course ages ago, and it was 10 weeks at about 3 to 3.5 hours a week, with some homework. There was also some tasks done by the luthiers in between weeks (stuff like bandsawing and routing... we weren't allowed to use any of the really dangerous power tools for insurance reasons). We were also given fully assembled neck blanks (truss rods inserted, scarf joints - if necessary - were cut and glued, fretboards glued on). We did everything with hand tools. It was 15+ years ago, but i seem to remember the week-to-week flow going something like this: - design and specifications (the shop did rough bandsawing of our body blanks) - sanding the body edges - carving the forearm cut - carving the tummy cut (the shop prepared our neck blanks prior to this week) - shaping the neck - installing the frets - dressing the frets - sanding body and neck (homework) - install electronics - install hardware - final setup

If you read the first page of this discussion, you'll see that i already confirmed its etymology as being derived from the Greek: piezein "to press". (according to Merriam-Webster's dictionary at m-w.com)

You would have to raise the fretboard or recess the bridge so the top of the bridge is at about the same level as the top of the fretboard/frets (with some room to play with for fine-tuning the action). A straightedge and a ruler should give you the exact measurement.

If it has similar physical properties to wood, why bother making a mold for it (unless you plan on mass-producing them)? Why not just make a wooden form, and fill it with the stuff so you get a "slab" that you can then carve/sand/whittle down to a guitar body shape?

Have you guys seen the demo videos of the Fuzz Probe? That thing looks like a LOT of fun!

There's another one up there as well. Some awkward design elements, but beautifully carved.

I was browsing on eBay, and i stumbled across this and my jaw dropped. Has anybody heard of this luthier before or know where i can see more of his work? A Google search turned up nothing.

The ME-50 is more like a programmable collection of pedals, whereas the GT-6 is a more fully-featured multi-effects unit with amp modelling, which in my opinion, makes it a much more versatile tool.

You'll have to isolate your spray area from your house's heating and ventilation system, too.

This might be a good idea for a fretless bass, but not for one with frets.

http://www.google.com/search?hl=en&q=lsr+t...m+Feeling+Lucky

Look here.

If you really want to get maximum effect, you should isolate the 15s and the 12s in their own chambers (each with their own input) and use an active crossover.

"Carrie burst" a bad spelling of "caribburst", which is a shorthand for "caribbean burst" which is a burst that goes from natural to aqua blue, like a caribbean beach.

That's really interesting, and entirely the opposite of what i would have expected. When i was in art school and learning painting techniques, it was always stressed that you should start with your lighter colours first, and then add darker colours. But i guess paint mixes in ways that dyes perhaps don't. I'll have to try this stuff myself one of these days!

Maiden: Yes, you just proved my point. Whether a guitar is built with a neck angle is completely independent of whether it has a carved top or not. You could build a flat-topped set-neck guitar with NO neck angle as long as you recess the tune-o-matic into the body. Or you could use a lower-profile flat-mount hardtail bridge. Just to clarify, in the last paragraph of my previous post, i said "no (or at least minimal) bridge angle." I actually meant to say "neck angle." Sorry for any confusion.

http://www.deanguitars.com/evo_dragster.htm

If your varnishes made it turn green, i'm guessing that it wasn't genuine gold leaf, but tinted aluminum leaf. Real gold leaf shouldn't tarnish under a varnish.

There are flat-topped guitars that have neck angles as well (LP Special, anyone?) but the carved top just emphasizes it. Most Floyd-equipped guitars these days go the direction of routing out behind the trem to get "full floating" action on the trem, but it's entirely possible to leave that wood in the body, add some neck angle to the pocket (by angling the base of the pocket itself or adding a shim) and raise the bridge. It's also possible to have a Tune-o-Matic style bridge on a guitar with no (or at least minimal) bridge angle. You just have to recess the bridge into the body a bit. This is the way Godin does it on their LG series.

I thought of doing this years ago as well, but then it occurred to me that if you try to "sense" that whole length of string at once, you may end up picking up so many harmonic overtones that a lot of them would cancel each other out in the final combined signal.

Ew. There's no way i'd want those on the face of my guitar. I prefer the "back" kind that are recessed below the surface of the guitar. That big rounded flange would look really awful on the face of a guitar, in my opinion.

Maybe we can do real "carrie" bursts.