Jump to content

Search the Community

Showing results for tags 'Build Thread'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


  • Instrument Setup
  • Instrument Building
  • Electronics
  • Finishing/Refinishing
  • Inlay and Binding
  • Repair and Maintenance
  • Tools and Workshop Tips
  • Miscellaneous


  • Guitar Parts
  • Tools and Consumables
  • The Library


  • Guitar Anatomy Class
  • Workshop and Tools
  • The Tipshop
  • YouTube


  • Patreon-only Area
    • Season 1
  • ProjectGuitar.com Forum Guidelines and FAQ
    • Community Guidelines and FAQ
  • ProjectGuitar.com Guitar Of The Month
    • Current Guitar Of The Month Contest
    • Guitar Of The Month entry/poll archive
  • Build Area
    • In Progress and Finished Work
    • The Design Bar
    • Non-Guitar Build Section
  • Tech Area
    • Solidbody Guitar and Bass Chat
    • Acoustic and Hollowbody Guitar Chat
    • Inlays and Finishing Chat
    • Electronics Chat
    • CNC Chat
    • Tools and Shop Chat
  • General Topics
    • Site Feedback, Issue Reporting and Test area
    • Players Corner
    • Put it to a vote
    • The Luthiery Business
    • The Marketplace
  • Forum Tutorials & Reference


  • Documents
  • Guitar Drawings
    • Component Drawings
    • Instrument Plans

Find results in...

Find results that contain...

Date Created

  • Start


Last Updated

  • Start


Filter by number of...


  • Start



Member Title



Found 6 results

  1. Starting up the new thread for 2014. Got some great projects for this year. More multiscale madness, headless builds, another express run, and maybe some multiscale basses. Expect custom pickups, exotic tops, and as much instruction as I can manage. Cheers! --RAD
  2. Now that's a hell of a title. I think that's it's fairly well-known that I've somewhat of a fascination with Japanese instruments made from 1976-1986 in the Matsumoku factory under the Aria Pro II banner. For the last ten years or so I've been making replacement preamp modules for their classic SB-1000 basses, and doing a few complete restorations for clients. The SB-1000 was an active single-pickup four-string bass made in two versions '76-'80 and '80-'86. It was made beyond this time in various forms, and is still made by the current incarnation of Aria Pro II, however the classic period for this bass was when they were made at Matsumoku. The 80s version introduced a slight geometry change, new headstock shape, finishes, switchable passive mode but fundamentally it was the same instrument. 70s SB-1000 (thumb rest not original) 80s SB-1000 During the 80s, APII also made a dual pickup flagship version of the SB-1000 called the SB-R150 with better appointments and flashier wood laminations. Something I'd imagined a while back was to take the basis of the SB-1000, add in appointments from the SB-R150 and move it up into 5-string territory. In recent years, Aria Pro II have also made a 5-string SB-1000 however I have zero hands-on experience of those.
  3. I don't know how many of you will remember me, but I am back in the luthier business! I finished Davids PRS (#3) and then took over a year off. It was quite stressful at the end, but had many lessons within. Here is a pic of it all done. More upon request (as with the rest as well). Before that (for anyone who doesn't know me) I built 2 tele's (one is my first, other commision) and then completed (routed, finished, set up) a tele from an ad on kijiji for 350$ Between then and now, I attempted a dual build and learned more, and didnt finish them off. More lessons, mostly with fretting and neck thru's. So after the haitus, and first year uni I wanted to get back into the game. I posted some ads, then got a hit from the local musicians facebook page. A tenor firebird. Not traditional, but I'll take any commission at this point. I have 2 other builds going on (next post) but here is the progress so far on the Tenorbird. I started a few days before Xmas and here we are, waiting on LeeValley for the drill bits for the 6mm dot inlays and the 11.9mm bit for the bridge posts. Here's how it all started (sorry for the quality, I just snapped them with the iphone and didnt bother using the real camera. This is changing! The ash is also not that brown...not sure why the camera is making it that way) Spec Sheet Lumber Body all cut out/routed Mock up Pickgaurd rough cut Logo inlayed - what do you guys think of the design? It's supposed to be a guitar pic, and the letter J Neck pocket routed, not glued yet!
  4. Over the years I have done bits of work here and there for Devin Townsend and Strapping Young Lad. I have the privilege of meeting the guys many times over the years. All good times. The second guitarist of Strapping Young Lad - Jed Simon - is probably one of the more under-rated metal guitarists out there and was most commonly seen sporting a custom ESP Flying V over the decade or so that SYL were active. Jed was kind enough to supply me with bits and pieces of information about "whitey" which I cross-referenced with specs from the ESP NV. The production ESP model is fairly similar however the devil is in the details.... Original specs are fairly vanilla. Maple neck-through with Alder wings and Ebony fretboard, single EMG 81 in the bridge position, TOM bridge, etc. A few of these have been altered on the basis that I don't want to make a 100% slavish spec-for-spec copy. In addition to this I am making a 7-string version. Preliminary flattened CAD sketch: Awfully shot photo of work so far.... The specs of the two guitars are different from the original and also from each other. Both bodies are Sapele, cut with the grain aligned to the outer edge to strengthen the wing tips. The 6-string version ("JSV-6") is a deep-set neck tenon with a laminated Wengé neck. Not pictured is the 7-string's ("JSV-7") neck which is laminated Khaya. All laminations were aligned to give a quartersawn blank. The JSV-6 runs 24 frets over a 25,5" scale with strings anchored through the body using a V-plate. The same applies to the JSV-7 excepting that the scale is extended to 27". The EMG 81 of the original is maintained in the JSV-6 (even though Jed recently kitted her out with an EMG 57) with the JSV-7 being similarly equipped with either an EMG 81-7, 707 or perhaps an 81-7H with the brushed black cover. The build process is relatively straightforward except for the bevels. In lieu of a better way of cutting them, the body was initially shaped from the blank to be specifically oversize - wider near the neck and deeper in the rear cutaway. This allows all of the bevelling to be cut using one 45° router bit with the final shape reducing the bevels accordingly. This can be seen in the photo where the body on the right (JSV-7) is pretty much fresh off the initial bevelling process whereas the JSV-6 on the left is the final shape. The initial neck fit is <tuco>tight tight tight</tuco> and true to the centreline. The mortice need a little finessing for the angle when I make a 2,5° routing template for it, but is other dead on. For finishing, I took onboard Jed's advice that the paint is NOT the crappy Arctic White or whatever ESP call their plain white finish these days. The original finish was a very lightly off-white pearl which has apparently ambered over time. I found this strange at first although photos of whitey with the hardware off confirmed this to be true. Still, all strangeness with the finish aside I paid a visit to an auto refinishing suppliers here in Pori (http://www.pp-maalit.com/index.php) and dug through their colour chips. The two finishes I'm deciding between are 2007 Subaru "Ice White Pearl" and a metallic colour code from the PPG chips. Both require a basecoat, top coat and clear. Should be pretty sweet! For reference, this is what the Subaru colour looks like:
  5. Relatively simple project remit - two Les Pauls made from Khaya Mahogany and Karelian Birch. One is to be receive a relic'ed "Gibson-ish" look with a black headplate, faded honeyburst, etc. whereas the other is to be more or less natural and is being made as a surprise birthday present for my wife. Shhh! There are many threads around the net which detail "vintage" Les Paul builds better than I can so I will merely make reference to these rather than rehash the information in them or worse, duplicate contentious information and create more confusion over certain details. The greatest resource of information by far - especially for the carved - has to be Scott Wilkinson's vintage burst build from MLP. Google "exnihilo les paul"! The build is more or less by the numbers according to both Scott's and other people's reference plans such as John Catto, etc. As usual, I redraw all plans in CAD to rattle out any inconsistencies within and between people's measurements to leave myself with one reference source. Variations exist because of people's own interpretation of the "ideal" Les Paul from the instrument(s) they happened to be measuring at the time, plus Gibson's own adjustments and inconsistencies. This really means that there is no real gold standard as such. Apart from a Standard Goldtop which goes without saying. A unified CAD plan also gives me perfect opportunity to take arbitrary measurements during the build process and to tweak things as I want without breaking the way things work together in one design or another. A specific change introduced was my usual inclusion of a zero fret. Apart from being a purely personal preference, I do believe that done well they improve an instrument's playability to a significant degree. Beyond that we are looking at a very Les Paul-ish pair of Les Pauls. Two Khaya body blanks and two Birch tops were glued up and thickness sanded to 46mm and 17mm respectively. I prefer to scarf my headstocks as opposed to creating weak short grain, plus this happens to be more economical in terms of stock availability. The quartersawn Khaya neck blanks were cut slightly long and wide at 612mm x 80mm x 45mm. First order of the day was to get templating. Complicated builds like LPs tend to collect large template sets and I like to spend time making sure these are treated as well or better than the instruments built from them. The first body template locates the centreline (which is on the glueline anyway...a luxury), the upper switch hole location, wiring channel path and the control cavity layout. Rather than cutting these in the template and using a bearing-guided router bit referenced by the template, I transferred the locations and centrepoints and sunk these completely through the Khaya with a 40mm Forstner bit. This deviates from "vintage correctness" but that is not a specific priority anyway. My templates indicate where to draw crossed lines in order to cross-reference the centre point of each drilling location. In the case of the electronics cavity this consists of four lines drawn in a "hash". A simple straight channel connecting the switch hole to the control cavity was routed into the top of each body blank. This also intersects both pickup cavities to facilitate wiring. Two screw locating holes were drilled through the Birch tops in the areas where the bridge pickup and neck tenon will be routed out. Immediately prior to glueup, the mating surfaces of each top and body were thickness sanded down to their destination sizes of 44,5mm and 16mm and blasted clean with compressed air. A good coat of Titebond I was applied to the underside of the top with a notched plastic spreader and dragged over the surface several times with excess glue removed. This helps to ensure the surface is fully penetrated and wetted. The mating face of the Khaya was very lightly misted with water to improve glue penetration. I've found that this method of glueing also reduces the tendency for parts to skate under hydrostatic pressure which is the source of much self-kicking and flying body parts. The centrelines of the tops were aligned to those of the bodies and allowed to set up slightly for a couple of minutes to reduce any movement in the press. The tops were then screwed through to the body and clamped for 30 minutes in the hydraulic press at a pressure of around 50kg/cm² (720psi) and subsequently left at a lower clamping pressure for as long as the timer would allow me to. The clamping time gave me ample opportunity to hunt down a longer bearing-guided router bit. As can be seen, I was only able to work through to around halfway in the Khaya. No matter, and certainly nothing to stop me from moving processes forward. Apologies for the relative lack of photography at this stage. My phone has been deciding to crash at inopportune moments such as during photography. I soon get bored of waiting for it to reboot and crack on with work instead. Standing-Around vs. Busy-Working is little to no competition.
  6. My plate is well and truly being filled this Autumn. In addition to the other projects on the boil I am fulfilling a long-standing wish to make my own "Red Special". Unfortunately since I am putting my energies into advancing my skills in manufacturing repeatability I am making two or three of them! The underlying basics are common however each one will be expressed in a unique manner. - "Back To The Light" relic More-or-less authentic Red Special aged and distressed to resemble the three decades of wear visible at this stage. Slave labour utilised, getting my son to mill a the tremolo unit. - Black Special Non-tremolo version with multi-ply binding and gold hardware similar to a '72 "Black Beauty" Les Paul with corresponding adjustments to neck tape and scale length. - unknown I'm open to suggestion on this one, including the name and finishing. Perhaps veneering the top and back with some spalty Karelian Birch? Mystery top Fret slotting. I still do mine by hand and have become inured to the difficulties. Start by running the saw over the corner from the outside in to prevent tearing and blowout. Mark both sides. Lengthen the marks to meet each other. Practice makes this a lot easier. Five mins and one slotted board. Might have been ten minutes? Currently the slots are only 1-2mm deep but will be cut to full depth after the board has been radiused. That way the depth stop can create radiused slots for minimal gap under the tangs.
  • Create New...