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Found 10 results

  1. I’m trying my hand at designing and fabricating a chambered, solid body tenor ukulele. This is a prototype build to continue to develop my skills and to learn from my inevitable mistakes :) When I looked at the current set of commercially available solid bodies ukuleles from Godin, Pono, KoAloha, Imua, etc., I wasn’t able to find enough details to deduce how theIr chamberings are configured under the top. Searches of across the luthier discussion forums provide a fair amount of info and suggestions covering chambering/hollowing guitar bodies, but all examples I found were for instruments
  2. My project of making an 8 string guitar from scratch. I am planning on building an 8 string guitar from scratch. Im just looking for some advise, this is my first guitar, and i know and 8 string is not the best build for a first timer, but i have my heart set on it and i am fairly confident i can do it. I have basic woodworking skills and access to most necessary tools and facilities. I also have a mentor who has made many guitar in the past, although he has never made an 8 string and doesn't know to much about them. I have a budget of around $1200 - $150 and i kinda know what parts i wan
  3. Yet Another Post! So I'm curious how you guys go about designing your guitar bodies! I personally do it all after I've found out where everything should be on the guitar itself. I then trace the shaps on tracing paper My own issues are proportions. How do you guys get your guitars into proportion? Tracing around your own or? Advice and tales fellas! Thanks R
  4. Hi all - this is the beginning of what should be a long-term project going through many stages. The guitar will be a fairly standard two-humbucker superstrat, however the point of the design is to document the process from beginning to end. Part of this will hash in with the CAD series of articles I'm penning whilst other bits will be the basis for various how-to articles. A productive design despite being more or less a standard. Essentially, a guitar that anybody can build. Depending on the availability of time, I will try and make this using the most basic of tools and equipment. A simple e
  5. Adhering to some form of best practice is not a necessary pre-requisite of a useful CAD plan. In a non-professional capacity a CAD plan only has to be fit for the purpose it is intended for, rather than following an established set of standards and work templates. That said, giving a passing nod to best practice helps improve the quality and reliability of your plans, personal working methods and raising your game. Google search results for "guitar CAD plan", "guitar dxf download", etc. reveal a hugely varying level of detailing and usefulness. Some "plans" exist as nothing more than
  6. When one thinks of a guitar or a bass, it is easy to think that the number of angles on headstocks, non-flat shapes, radii and sticky-out bits plus various pieces on top of each other would favour 3D; modelling the instrument as a virtual item or set of items. A tangible real-world object often seems more appropriate as one possessing three dimensions. How is it that 2D is still the most appropriate design methodology for the vast majority of instrument design? In many respects, 3D is genuinely useful and definitely relevant for instrument manufacture. As soon as CNC milling becomes part of th
  7. CAD ("Computer Aided Design") in its most basic form is the electronic equivalent of traditional pen-and-paper technical drawing. CAD stores drawn shapes (such as primitive lines, points, curves) as precise mathematical representations or "vectors". Whilst this might seem an overly-simplistic description for anybody familiar with CAD, this description is as true now as it was in the late fifties when the idea was first germinated. That a technical drawing or "mathematical representation of real world metrics" could be electronically stored, transmitted, reproduced, manipulated, merged, transfo
  8. Many schools of thought exist on the design process for making a solidbody instrument. At one end of the spectrum there's the mad genius school of working directly in the wood by feel and intuition, and at the other there's the CNC gurus who design the entire instrument as a virtual model and have totally different concerns to the general enthusiast luthier. Traditionally, instruments were designed on paper (usually) in 1:1 scale by hand. CAD is not too far removed from this, and adds many layers of powerful use on top of traditional drafting. Through this series I'll be describing my personal
  9. This is a project which will have a reasonably lengthy build-up time, so this thread exists purely to gather information, consolidate the design and work methodologies. A little background. I have never built an acoustic or archtop previously to this, so much of this particular thread will consist of my research and references to information online or from books, etc. The Gibson EB-750 and its sister the EB-650 were extremely rare (less than 100) basses built upon the designs of the Gibson ES range. The EB-750 was (as far as I am aware) the same underlying design as ES-175 but with a bass n
  10. I know from a purely logical perspective, for a first build, a bolt-on is best because it will allow for neck shimming, the ability to rebuild the neck or the body if one is messed-up, etc. So, the plan is/was to use non-pretty "left overs" from other furniture, etc. projects. One of these left-overs is a can of DupliColor MetalCast Red Chrome. The idea was to go with the red chrome finish and black hardware and I've already bought the hardware. The conundrum comes in because I love natural finish guitars and it looks like I'll have left-over cherry that's wide enough for the body, but o
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