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Found 20 results

  1. Hello, I'm a quite new guitarist (about 2 very casual years). I've been lately looking at a cheap 7-string guitar with a Floyd rose. I already own a cheap but quite decent MICHAEL BATIO MAB7X 7 STRING - CBK guitar which I'm really happy with. I've been recently looking for a "new" guitar and I've found couple of guitars which cost almost nothing for what they seem to be worth. I'm fully aware these are counterfeited fake guitars made in china. I'm really interested in the neck through bodies that they come with tho. Is it worth buying for the bodies and bodies alone and installing new bridge and other components? Or are there somewhere the neck through bodies for 7 string Floyd rose bodies that I can buy? My budget is 500 pounds which is roughly 700 dollars. I know many will say to just buy a new original guitar but there really aren't any guitars providing neck through bodies with 7-string Floyd rose at this price range and due to already owning another 7-string guitar with Floyd rose bridge I only need the body to swap the components into.
  2. This thread will be a collection of information and stages of planning a build using parts found on eBay. Ultimately this will become a series of articles on specific techniques and procedures for the main Project Guitar site with one main article documenting the build with reference to these. For the moment this will serve as a public thread discussing everything as it happens.
  3. From the album: eBay body project

    First step was to use a bearing-guided template bit to copy the existing cavity shape to a sheet of 5mm plywood.
  4. From the album: eBay body project

    The decision was made to kill the paint and remove the underlying veneer.
  5. From the album: eBay body project

    For those of you into stereoscopy, check this one out! Look at the images from a comfortable distance and cross your eyes until both images overlap in the centre....
  6. From the album: eBay body project

    Another angle of the same issues under the finish.
  7. From the album: eBay body project

    The light patch on the veneer could either be a sandthrough or adhesive soaking through the veneer. I suspect that this is a sandthrough whilst the marks at the edges are adhesive.
  8. From the album: eBay body project

    Wow, look at the sanding marks left inside the lower horn! The translucent finish hides this until you reveal it in bright light. Also note the strange light marks which look like adhesive on the veneer.
  9. From the album: eBay body project

    Finish chips around the edges.
  10. From the album: eBay body project

    Wow, now that is some awfully rough routing.
  11. From the album: eBay body project

    The lack of a square heel does suggest the possibility of conversion through to a seven-string....
  12. From the album: eBay body project

    Cavities roughly routed and spattered with buffing compound!
  13. From the album: eBay body project

    Finish chips around the edges.
  14. From the album: eBay body project

    Finish chips around the edges.
  15. From the album: eBay body project

    Potential sandthrough or veneer adhesive soaking through at the left hand side?
  16. From the album: eBay body project

    Ding in the finish through to the veneer
  17. This text is the literary accompaniment to this YouTube instructional video: The first thing to keep in mind when building a template is to ensure that you have a full-scale drawing/blueprint of the guitar you wish to make templates for. There’s nothing worse than making a template only to find out it won’t work for you… or even worse, building the guitar from that template! So check, and recheck all your measurements and drawings to make sure you’ve got it all right. To build a quality template you’re going to need a couple of tools and a short list of materials. For the actual templates you’re going to need 1/8” thick hardboard, and ¾” (1/2” also works, but I prefer the thicker variety) MDF. Both of these materials are relatively cheap at the home depot or Lowes. As for the tools, you’ll of course need a pencil, ruler, marker, oscillating spindle sander or drum sander chucked into your drill press, some sort of saw; be it a jigsaw, coping saw, or the best, a scroll or bandsaw, a palm sander (square pad will work better for this than an RO sander), and lastly a router preferably with a table. The first step is to get the sharp of your body from your drawings onto the 1/8” hardboard. This is easily done by cutting the shape out from your blueprints (always make sure you have a non-cut up copy! You can copy things this large at a FedEx Kinkos) and then trace it onto the hardboard with your pencil, centering it along the center line you have already drawn with your ruler (center lines are KEY to guitar building!). Since the hardboard is a relatively dark material the pencil may be hard to see well enough to follow, so now go over this line with your thin tipped marker in a nice easy to see black line. You may now roughly cut out the shape using the saw device of your choice. Try and keep as close to the black line as you can without going into it (leaving about 1/16” off the line should be close enough for this step), because you can always later remove material you failed to cut away, but you can never add back material that you took off inside the line. You should now have a rough shape for your body, but that obviously still needs a little work. The next step will be to perfect the shape with sanders. Start the sanding process by using the OS Sander or chucked drum sander to work at creating a continuous, perfectly flowing curve on all of the concave sections of the template. It’s generally a good idea to keep the template moving along the curve instead of sitting and sanding it in one place, which will cause a depression. The only time you should sand an area without moving is if you have a large lump that needs some serious bringing down to level with the curve. This constant motion while sanding will help to perfect the curve and make it smooth and continuous. The best way to find out if you’ve accomplished this is by holding the template up to, and covering the sun, or a light, so that the light comes in around the template and gives you a starkly contrasted profile which allows you to see the state that the edges of the template are in much better than simply looking at them normally. Keep in mind, even the slightest imperfections on your 1/8” template will come out to be large noticeable ones when they are compounded by the 1.5”-1.75” thickness of the guitar’s body the template will make. Once you are done and happy with the concave sections of the template, it’s now time to focus on the convex sections. For this we will use the palm sander. The reason for this is because it has a flat bottom surface, meaning it will sand off all high spots, but since it’s flat and the surface is convex, it won’t further sand lower and of the low spots, ie: you’ll end up with some nice uniformity. Using the same process of checking your progress with light profiles, sand the convex sections until they too flow perfectly and you are happy with them. Now take your 1/8” hardboard template and trace that onto a piece of ¾” MDF with a centerline. Then once again roughly saw out the outline, this time you don’t have to be nearly as accurate. Then, using double sided tape, nails, whatever you have around, secure the 1/8” template onto the rough cut ¾” MDF one. We will now use a bearing guided bit with your router table to copy the exact shape of the 1/8” template to the ¾” one. Keep in mind this may take several passes because ¾” is quite a bit of material, even though MDF cuts like butter on a router. Now you might ask, “Why did I got through the whole process of hand creating a template in the 1/8” material, just to end up using it only to create a ¾” one!?” The answer is simple. 1/8” thick material is much easier to shape by hand and with simple tools. Also, since the material is thin, even if you sand the edge at an angle, or some other mistake, since the bearing on the router is thicker than the material, it will follow only the high parts, in essence, negating these angled sides/mistakes. Whereas, if you had made the same mistake on a hand done ¾” template, since it’s thicker, and mistake over its thickness will have a greater impact than that of the 1/8” material. This is easily explained with right triangles. Lets say you accidentally sand the edge at a 3-degree angle. 3 degrees over 1/8” is really a negligible difference on the side of the triangle opposite the angle. However, the same mistake done over a triangle of base length ¾” will result in a much larger error, one that could easily be large enough, when transferred to your guitar body, to make a flat spot, or an imperfect curve, or any number of visual unpleasant features. As for the reason for needing a ¾” template at all and not just using the 1/8” one to route the body; since the body will be some 1.5”-1.75” thick you’ll have to route in several passes and thus the bearing will go up in height each pass, and therefore you’ll need a thicker template to accommodate for this so that the bearing will always have a surface of the template to follow. Follow the same above steps to create your template for the headstock shape. The final template that you’ll need to create is the template for your neck and fretboard. The good thing about this template is that if you build the template for the neck, you can also use it for the fretboard. Simply find the width of the neck at the nut and at any point further down the neck, say something like the 12th or the 24th fret for convenience, and then take a perfectly straight piece of wood (often the edges of the MDF when you buy it are straight enough, so cut off a strip or two) and using strong double sided tape, tape this straight piece along one edge of the taper you’ve drawn out between the nut and the point you chose further down the neck. Use this straight piece and a template bearing guided router bit to route along it, then repeat for the other side of the fretboard taper. Now you should have the perfect taper for your neck and fretboard. It’s now time to cut off the extra wood where the nut will be, and also down where the end of your neck tenon will be. If you want to route your neck pocket with a router, you should round off the ends of you template down where the tenon end is at the same radius as the bit you plan to route the neck pocket with for a nice tight fit. You can use this whole template to route the entire neck (in conjunction with the headstock template you’ve made) or to route just the fretboard by positioning the fretboard wood at the nut and centered. Keep in mind, the straight wood/bearing bit method can be used for a great number of things such as routing the perfect control cavity, or even more complicated routes like a neck pocket, which can be done by clamping the neck where you want it, and then taping straight pieces on either side and at the end of the tenon. Courtesy of Chris Verhoeven, edited for forum use by @Desopolis
  18. Introduction The first step into building my own guitar was to obtain some fool proof reading material. The book I stumbled upon turned out to be a complete godsend. "Make Your Own Electric Guitar" is written by Melvyn Hiscock who is an established U.K. luthier who's been making guitars for over 25 years. The book will tell you everything you need, from wood and tool selection and how to use them, to design notes, scales lengths, wiring, tips and tricks and just about everything else involved, the book also goes through constructing 2 guitars and 1 bass from the ground up. It is ESSENTIAL for me to read up on things, as this will save me a massive amount of trial and error not to mention the expense of failed attempts. So what's first? I found the best way to approach the immediate stages following the digestion of the book was to come up with the design of the guitar. To make things easy on myself I already had a design in mind, my guitar body was to be a replica of an Ibanez Jem/RG with an all All-Access-Neck-Joint. As I already owned a Jem7DBK a lot of my design headaches were taken care of. All I had to do for the body was to trace round it onto a piece of card that would form the basis of my template (although not the be all and end all). I traced the body shape a few mm's larger than the size I wanted it to end up as, this is to allow for the odd cutting mistake and the wood lost through sanding, the exact dimensions can always be refined later. You will see above a set of dimensions I put together after removing the neck on my Jem7DBK, this will make routing out the AANJ neck pocket a hell of a lot easier. So next up is the wood! I paid a lot of attention to wood selection, mainly for 3 reasons, sound, ease of shaping and feel. The body is a two-piece bookmatch of Brazilian Mahogany 24x8x2 for each piece, which should hopefully lend itself to that warm creamy sound. Time To Glue! Before I started the gluing I had to ensure both body blanks had nice even and straight contact points. Again I was lucky, as the wife worked for Makita she could take the wood into Colin ( the friendly hardware guy ) who ran it through a machine specifically for this purpose. Once it came home I ran over it lightly with some 240 grit paper just for the extra piece of mind. I used Titebond II for gluing as this had been recommended to me by a few people, including Craft Supplies (edit: check our their link in our suppliers lists elsewhere on the site!) who know their stuff! I applied a pretty liberal coat to each of the blanks, just to give the extra assurance that the bonding would be tight and used a laminated piece of card (such as a video store membership card - thanks Blockbusters) to spread the glue. Once I'd lined them both up I clamped them with 3 sash clamps, 1 in the middle and 1 at either end. What you want to look for here is a nice even overflow of glue when you tighten the clamps up. I scraped off most of the overflow with the "Blockbuster" card, and then left in a room with moderate temperature for 24 hours. As the picture says, the excess glue can be sanded off once drying has completed. After the glue had dried I removed the clamps and got to work sanding, I also sanded the neck woods whilst I was at it. I used a power sander for this and 3 different grits of paper, 80 to start, then 120 and finally 240 to smooth it off. You can see below the end result. Cutting The Body The body is taking a trip to a local Carpentry firm who have kindly offered to cut out the body with their Bandsaw for £5. I'm a little disappointed that I don't have any photo's of the cutting taking place. The reason for this was that the joinery company I took it too couldn't tell me what time of day they would do it as they were pretty busy ( and I didn't want to hang around their workshop all day. They used a Bandsaw to cut out the body and I estimate it probably took them no more than 5 minutes, but I'm very pleased with the result. The gluing held strong as I'd expected and I ended up with a slightly oversized RG body ( with AANJ of course ). The pictures below immediately follow the cutting so the edges may look a little ragged because they've yet to be sanded down. Next is sanding everything nice and smooth, which should take off the couple of mm's I need to make the body shape more exact. P.S. The full frontal shot shows the lovely grain this piece of wood has, which the translucent finish will hopefully show off! Contouring I found the best way to contour the body was with a Spokeshave. The Spokeshave can be pretty much classed as a more versatile form of Plane. It gives you the freedom to shape the wood whilst a Plane will only let you work with straight edges. You will notice that my contours are not EXACTLY the same as an RG/JEM, this isn't because the process is very difficult, more that I wanted to keep as much wood as possible to contribute to the sound, and the guitar only has to be comfortable enough for me. It can be quite hairy when you start shaving off layers of wood, but I had a power sander with me so I could easily and quickly smooth it off to see how it was taking form. First up was the Arm Rest... And next was the rear body contouring... And finally a side shot of the work completed... There is still some minor shaping left to do, which will be done by hand with sandpaper, just to tidy the curves up a little more. Routing The Cavities **NOTE: The cavities are not yet fully shaped as I had no jigs or templates to work with, so I took accurate dimensions and did all the routing freehand (which was scary). Final accurate shaping will be done with chisels, files and sandpaper.** Here's a picture of the tool used for the job...a Makita router on loan again from the wife's workplace. I found out to my detriment that I should have initially worn a mask and protective goggles (needless to say I felt pretty rough later that evening after breathing all the sawdust in). This was rectified on routing day 2 and I felt much better, even though I had to work through the hassle of the goggles steaming up. It's easy to get impatient when routing as it's a very time consuming job if you don't have templates to work with, so I took regular breaks when I started to feel like I was getting a little annoyed. I used a 1/4" straightcut, double fluted bit ( has to be a double flute 'cause a single just doesn't cut cleanly enough ) to rout the cavities in the front of the body and was able to be reasonably accurate. You can see the pictures below of the neck pocket, pickups and bridge routs before final shaping. I routed the rear cavities, i.e. the control area and the rest of the bridge. Immediately into routing the control cavity the 1/4" router bit snapped in half and I was damn lucky that it chose to stay in the wood and not fire out into my face ( time for a full face mask I think. This forced me into using the 1/2" bit which you can see in the router picture above. I had to be twice as careful when using this as it obviously takes out more wood making accuracy very difficult. The control cavity is not the same as found on an JEM as obviously they are front routed. I drew 2 1+1/4" circles for the control knobs and 1 1" circle for the switch using a compass. I then joined these up with a curved line and routed the area out to within 5mm's of the top of the body. Final Body Work Now the final shaping with the hand tools so it's all neat and tidy To start off with I managed to erase all the pictures of drilling the volume, tone, switch, pickup connecting holes and input jack, not to mention the grain filling process, so I'm a bit pissed at myself, but I won't let that stop me! Firstly I chiseled out the area's that would take the trem cover and control cover. Basically I just drew in my guidelines and let loose with a variety of chisels (the one in the picture is the widest I used). You have to be quite careful to avoid lifting too much wood so it's a slightly tedious process. It SHOULD be done with a router, but I was beginning to think of myself as a woodworking' kinda guy so I used hand tools and prayed. I used the same process as above for chiselling the control cavity and then tidied up with files and sandpaper. Once this was completed I drilled the holes for the controls, pickup wire connectors and the input jack. A quick note on the input jack, I drilled through to a convenient position between the pickup selector and tone control as my input jack will be sharing the same cavity, unlike on a JEM which has a dedicated cavity. I used Brian's guidelines for the jack from "Universal Jems" which is a great site, if you wanna' know the tools used then you're gonna' have to visit the tutorial. As far as the volume and tone go, they were drilled out with a 5/16" bit and the selector switch with a 1/2" bit (I'm using a 3-way switch by the way). The pickup connector holes were drilled with an extra long 1/4" bit. Once I'd completed the drilling I grain filled the body with Rustin's Grain Filler. This stuff is like putty - damn thick! - and theoretically you should thin it with something such as white spirit, but I decided to slap it on UN-thinned and used two coats. The filler was applied with a soft cotton rag along the grain and then cleaned of with another rag against the grain. This makes sure that you don't "lift" it from the grain. You can see all pictures below after filling... In case anyone else spotted it, yes I did forget to drill the trem mounting holes...DOH!...But that will be sorted A.S.A.P. Material Finishing I won't go into too much detail here as Brian has posted a great "Tutorial" on how to finish a body with material. I wanted to achieve the JS Chromeboy look but not with the hassle's I've heard about the finish being very unstable. I went around a few shops for my material, but eventually found it on a market for £2.50 a yard...BARGAIN! I grabbed 2 yards which is plenty enough ( they even had the same material but in Gold ). It's a great material, as it's very reflective and bounces colors off itself, plus it has a wood looking grain up close. After following the first stages of the tutorial this is what I ended up with... There is still the back and sides to do, plus a "burst" to hide the edging. After this it will be lacquered and polished, (the black is my shadow by the way)
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