Jump to content

Search the Community

Showing results for tags 'guitar'.

  • 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



  1. Version v1.0


    Modern set-neck Flying V. Designed for two humbuckers and a Tune-O-Matic style bridge. Visit the support thread for information on build specifics and for further information on this design.
  2. Hi all, I'm planning on building my first guitar, but I got some questions. How long should my truss rod be, and what is keeping it in place? My fretboard will be (from nut to fret 24) 504,75 mm long. I hope you can help me with my questions. Kind regards, Niels
  3. Hello. As lots of others, I did just sign up for ProjectGuitar, to be able to more closely follow what others are building, and ask advice on what I am building, hoping for the best. So far I've built a semi-hollow LP kit, and restored an old russian acoustic (custom inlays, neck reset, bridge reshape, reglue, top refinish, etc), and I wanted to do a guitar from scratch. I found a cheap neck online close to me I liked a lot, so I designed a guitar around it. Beginners mistake, got caught with the flow, and the guitar came out fairly complex. The idea would be to have some sort of modularity, to be able to change some parts if I get bored: designing with a hardtail bridge,
  4. Hi all I am a hobby-luthier building my first accoustic guitar (I've build electric guitar and Ukelele before) The soundboard/sides is spruce and I've got bubinga for the fretboard want to keep it light coloured so what is my best option for the back? Worried Spruce will be too soft or the back, same with Obeche (which would be a strange choice but I have some) or should I abandon keeping the colour and go for mahogany/walnut? Any help appreciated R
  5. Hello everyone. I want to share with you my very first build. It is done now and I'm very pleased with the result. I am a learning guitar player (don't dare to call myself a beginner yet). I own a cheapo Harley Benton Strat copy and a nice Epiphone G400 that I use as my main practice instrument. A couple of months ago I came across an advert for this amazing looking Soviet era Ural 650. https://drive.google.com/file/d/1-OlU05gB-wKgwFtDqhuglWzKo9rbB2wv/view?usp=drivesdk Totally fell in love with it. But after doing some research I found out that these were of pretty poor quality even when new, and since the 70s even the good ones got bent out of shape and are pretty much unplayable. So I decided to build one myself. I wanted a guitar to practice at work during my breaks, but a quiet one, unplugged, but electric. I had my strat copy at work and since that is hollow and made out of pine wood, was sounding pretty nice and clear unplugged. So the plan was to make a (kind of) hollow guitar, with a soundhole (maybe to amplify a bit the sound) and have only the neck pickup since I mostly use that one, and the guitar will be used unplugged most of the time. I didn't want to spend too much on this project so I tried to use whatever I could find. All the tools and materials used: -Pine wood -drill with various size drill bits -angle grinder with sandpaper disk attached -wood chisel -hand saw -wood adhesive -wood filler -2 cans of primer -yellow, red, black paint, one can each -2 cans clear laquer -various sandpaper grits -turtle wax -screwdrivers -a whole lot of elbow grease and dedication First I picked my wood. As I work I a cemetery I found I nice pine plank we use to surround the grave at funerals. All the planks had knots so no chance of finding one without it. As I did not have any professional tools to carve out the inside of the guitar, and the plank was too thin anyway, it was going to be made out of two layers. I had to cut a piece of plank in half, along the edge, to make the thin layer that will go at the back. As I did not have any cutout of the Ural, I had to rely on a very low resolution image of the design. I had to print it out on paper, glue the papers together, resize the image on the PC and keep printing it until I was happy with the size of the print. https://drive.google.com/file/d/1-myVGBhL9rpPngJgGFWpZGXpr0td9jVN/view?usp=drivesdk I didn't have any clamps to glue the board pieces together so I used a lot of heavy marble shares I had and just pressed them together, the sheer weight keeping them nice and tight. https://drive.google.com/file/d/101k-DF1JxCQXU1nt_IuzjTO5L-mpqwXX/view?usp=drivesdk Trace the overal shape of the ural using the paper print. https://drive.google.com/file/d/1-zvLSJzFP-NBn1IhPZwnL7w6ijW-6aFv/view?usp=drivesdk Using a hand saw and the angle grinder, cut the front and back pieces. https://drive.google.com/file/d/1-ukF70qY_XqFE92jfwhJ87o9f5CfEYxo/view?usp=drivesdk Using the drill, cut out a lot from the middle of the front half, using the paper print as a reference to see where the pickguard would go, leaving just enough space for the screw to catch on to. Then it was the crucial part of cutting the neck pocket. I was going to use a neck from an old strat copy as I have no knowledge in building one, so I used the strat scale. Spent over whole day with just a flat wood chisel and a rubber hammer. At the end of the day, the neck fit almost perfectly, nice and tight. I wanted to use the same screw holes the neck already had, so I shaped a piece of paper, put it in between the old strat and it's neck, screwed it in, then used that paper to see where I need to drill the new holes on the one I was building, drilling from the inside of the pocket. https://drive.google.com/file/d/1-mg1n7_iZkYnMr8-06__ko9C60dIILAT/view?usp=drivesdk Using wood filler, patched some imperfections, sanded the wood extensively for two days, then applied the first light of primer. https://drive.google.com/file/d/103Z_Whq4yAAaVzy3zlKVyRTXRs808el8/view?usp=drivesdk I wanted a simple, front loading bridge. I picked a Strat style one. To connect the ground, drilled a hole under it to go towards the inside. Left the wood to settle for two weeks. Came back, applied several coats of primer over 3 days. https://drive.google.com/file/d/1-THnvPl95YVZdz6B_t5dKEAL8oJB3Lhk/view?usp=drivesdk Then it was time for the yellow paint. A whole can used, several layers over 3 days. https://drive.google.com/file/d/1-FNadnxBxrXlusmbTs4ynIFwC6Astq-n/view?usp=drivesdk Then came the red paint. Very inexperienced, put way too much, but decided to polish off the excess. https://drive.google.com/file/d/1-PAqe7A2BHz-BIEH-p3IQmJAOwdQFHmk/view?usp=drivesdk Because of the polishing, the patterns of the wood were showing red, but I loved the effect! Then the black edge went on. https://drive.google.com/file/d/1-IEgmURUoci14-wdv8yDqjfnP2jVvlIs/view?usp=drivesdk https://drive.google.com/file/d/1-BZaABw-S2wMKHxf_EltfEeSLIHDhc0f/view?usp=drivesdk Considering the variety of 'organs' I was putting into it and the material used, decided to calle it The monster, and applied the appropriate decal. Printed it out myself on waterside decal paper. More sanding and blending. https://drive.google.com/file/d/1-CCGN9whiH1B3XbeDF8smdAJ3ssMmYoF/view?usp=drivesdk Time for the clear lacquer, 2 cans applied over 3 days. Now for ther pickguard. The Ural design looked a bit bland so decided to make my own. With a piece of paper over the body, traced it's outline then sketched the shape of the pickguard. Cut it out then used it to trace the outline on the pickguard material. I used a 4 ply golden brown sheet. https://drive.google.com/file/d/1-9IzG7rJ8O4NIaUqtqa-CThfj25j0-Dk/view?usp=drivesdk For pickup I used a Wilkinson Telecaster, the volume knobs are Les Paul style, used the bottom of a cup to trace the outline of the soundhole. This took me a whole day, as I only had the drill, saw, and sandpaper to do it. Connected the electronics, etc. Drilled the holes for the pickguard screws, put in the strap pegs and finally the strings. https://drive.google.com/file/d/1-jq_ieFDMyq5Witv6zamL7qhVh0Bpu8-/view?usp=drivesdk https://drive.google.com/file/d/1-42OCrQ4JQ2g8TVW3_aJpn3mGgWmPB2A/view?usp=drivesdk I plugged it in, tuned it, set up the intonation. Put it down and admired it. I could not believe it. I was so happy with the result and so proud of myself. I never thought I could actually make it look so good and fully work and sound as it should. To be honest, I don't know how I did it. When I was working on it it was like I was in a trance - my brain would just freeze and my hands just kept going. I know the material used is not great. But this is not a high standard instrument. I just wanted something to jam with at work. The parts used came from 4 different styles as well, and the soundhole may look out of place. But it works for me and I love it! What are your thoughts on it?
  6. Hey guys, I am building a guitar and I want a humbucker in the neck and single coils for the middle and bridge positions. I would like 3 volumes and 3 tones, is this possible? If so, can someone get me a diagram or does anybody know who I could contact to get the info? Thanks a lot!
  7. 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 want. In terms of wood, i was thinking full mahogany body with a flamed or quilted maple top, maple neck somewhere between 27" and 28" and an ebony fretboard. With the hardware, I was looking at EMG 808's or 808x's for my pickups, but i'm still unsure of things like the wiring sets that can be used for an eight string. Is it the same as a six? And i'm also not sure about the bridge. What would be the best one and where can i purchase it from at the cheapest price? Any information about making an 8 string is greatly appreciated. Thank you. - Josh
  8. Hello everyone!Just finished building my first guitar body and wanted to hear any feedback that you experts have! I started this project last fall (2017) and worked on it in my spare time throughout the fall and into the winter. It was slow-going, but I have finally found time to get it finished!It is solid Swamp Ash, with gold hardware purchased from various websites, and a creme-colored split-style pick guard. The dyes I used are the powdered alcohol-based dyes from Reranch. I chose their "yellow" and "extra dark walnut". It's common to find sunburst guitars, but I felt like I don't often see any line-style gradients, so I chose to do that for my staining. What you see is a light golden yellow fading into the darker brown horizontally. I applied the dyes with a spray gun on an air compressor.The gloss coat on this is Polyurethane, as I was told it's the easiest to apply for a first-timer. I think maybe a nitrocellulose might have looked even better on this guitar, but it sounded like it was much more difficult to do a good job with that, as opposed to polyurethane, but I have absolutely no complaints with my polyurethane coating on this.It is equipped with a single dog-ear style P90 pickup that I got it used from a friend out of his Gibson LesPaul Jr. for a good price. Since it came from a friend, I already knew how it sounded and knew it was in good condition, so I had no problem buying it used. I chose to install only 1 pickup because I have always loved the look of single-pickup guitars, and also because the wiring would be simpler for my first time configuring anything like this. I took a risk by purchasing a used Squier Jaguar neck from Reverb. My intent was/is to eventually build my own neck, but for now, this neck actually plays and feels MUCH better than I had anticipated. It is straight as an arrow and is surprisingly comfortable, so I'm very happy with this for the time being. The action is set comfortably low and it all feels just right. I would love to hear any feedback if anyone has any!Thank you!
  9. Acoustic guitar completed Val Di Fiemme top Back and side Walnut Ebony fingerboard Mahogany neck
  10. Hi guys, I have a few questions. I want to build a little spray paint booth and I want to ask if any of you have advices for me. My main question is if my intake/exhaust placement makes sense. Right now it is designed to have the air intake at the top and air exhaust at the bottom, opposite sides. Should they both be at the rear of the spray paint booth? The booth size will be 5' x 5' x 7"6", it will be covered with polythene plastic, have 4x 48" neon (Outside the booth of course). I have a a belt-driven fan I plan to run over a ~10 meters 6-8" flexible duct outside. And I will use 12" dust free filters for incoming and outgoing air. I came up with this design reading about dozens of posts, but as you know, there's nothing like personal experience (Which I don't have yet!) Thanks for any advice that can help me start this project on the right foot!
  11. Hello. I am wondering where I can purchase an ebony fretboard, suitable for an 8 string guitar with a 28" scale.
  12. Hello to everyone. I wasn't here for a long time and now want to share with you one of our current projects - Axim.7 It's on the way to finish, so I post photos from history of it's building. Specs: Body - Ash Neck - 7ply maple/rosewood/wenge with rosewood fretboard, 25,5", 24 Jescar frets Bridge - Hipshot, Tuners - Gotoh Fokin 7str pickup (will choose model after testing for better sound), 1 volume. Original concept and minimalistic design. Very balanced, heavy enough, maximum access to all neck - it's a fully loaded Axe for metal and shred.
  13. Hi guys so recently I've been wanting to get a new guitar and I fall onto doing a build myself. I have a little bit of an idea of what I want to do and the woods I want to use, but not too much detail after that, I can definitely use some advice and recommendations. So here are my plans. The Idea for the guitar is a 8 string guitar multi scale (26 1/4 inch at the high E and 28 1/2 at the low F) with fanned frets. I want to tone to be bright and crisp with really good articulation of the notes. I have which woods id like to use and ill organize from head stock down... Headstock - Koa Macassar ebony (as the trust rod cover) Neck - Koa Fret board - Macassar Ebony Body - I'm plan on having Wenge and Black Palm alternating, Like so. Wenge, black palm, Wenge, black palm, Wenge with a Zebrawood Top For hardware I want to do 2 slanted Humbuckers with a straight single coil in-between them. I want the pick ups to be passive, but really articulate. I was thinking bareknuckles for the humbuckers, but I'm not sure for the single coil or if how that whole layout will work. As for the rest of the hardware I'm not too sure on what to go with, but I do know I want a individual piece bridge. I just started planning this out but I would like to get some advice and tips if anyone has some for me. Edit.. I know that Black Palm is very difficult to work with and I dont plan on doing to much wood work for it but just enough to sandwhich it between the Wenge wood in the body. The other woods seem to be around the same intermediate levels to woodwork, This is a Rough (ROUGH) Layout of the woods front of the guitar http://imgur.com/a/B08sF Back of the Guitar http://imgur.com/a/jctGK
  14. I want to build my first custom guitar, and I know what I want. I just don't know what my budget should be, and where I can find quality components. I want a Gibson explorer body, and I would like it to be sparkly purple with gold hardware. I want the purple sparkles to carry up the neck and cover the headstock. Other than that, I have no clue what pickups to look for and even what all I need. Thanks, Colin. also, don't want to blow the bank
  15. Hipshot are a savvy bunch, and to bring a new bridge system onto the market you have to know exactly the features it needs for the end user without making it a stiff and boring-looking item, or worse....an overburdened contraption that only a marketer can save. The Tone-A-Matic effectively addresses the most common issues found in traditional TOM-style systems with a neat attractive unit; both a one-shot retrofit for Nashville-style TOM bridges and a simple-to-implement high grade boutique bridge for new instruments. Generally here on ProjectGuitar.com, the average reader is a builder, so let's get the retrofit stuff out of the way first. After all, this is the primary market for the Tone-A-Matic.....then we can concentrate on the really fun stuff to show how well this bridge works for us in new builds! ----==---- Retrofitting, or "when they didn't do it properly in the first place" Primarily, the Tone-A-Matic is aimed squarely at owners of guitars fitted with Nashville/Epiphone/import-style bridges; those with standard large-diameter adjustment posts rather than the ABR-1 thumbwheel style. This isn't to say that you can't pull out that weedy ABR-1 and upgrade, however that route will involve a careful invasive surgery. Like all of Hipshot's products, the system comes complete with everything you need, including replacement Metric (M8) bushings should your existing ones happen to be a smaller M4 or Imperial threading....or simply if you prefer to renew everything. Optionally, Hipshot can provide Imperial-threaded posts should you be transplanting onto say, an American-made Gibson Nashville. Having all of the parts and setup tools you need right there in the package gets this changed over in one sitting, and is super convenient. None of this "getting the parts in, only to find you need to buy other bits" time-wasting. If you can operate an Allen key, you're golden. Height adjustment of both the bridge and stoptail studs are both managed using the same included 1/8" Allen key whilst the bridge locking mechanism uses a 1/16" key. Obviously the line was drawn at including a screwdriver for intonation! Tailpiece (top) and bridge (bottom) studs/bushings - click to enlarge Stud spacing of the bridge matches the Nashville-style configuration, with a distance of 2-15/16" (2,94"/74,6mm) whilst the stoptail is spaced 3,2"/81,3mm. It is worthwhile confirming that your instrument matches this spacing, since exceptions can occur out in the wild. ----==---- As per Hipshot's usual modus operandi, the parts are precision milled from solid high-grade alloys (in this instance, aluminium and stainless steel) ensuring a durable, effective top-drawer unit. Rather than slavishly copying the well-worn (and somewhat mundane) TOM look, Hipshot elected to produce an aesthetically-elegant unit, reminiscent of those found on some classic Japanese instruments of the 70s/80s. (the best-looking TOMs ever in my humble opinion....) . click to enlarge Bridge detail - click to enlarge Tailpiece detail - click to enlarge click to enlarge The bridge has a mild radius milled over the top face side-to-side and front-to-back with saddles placed to match a 12" radius. Hipshot fit saddles notched and gauge-sized to create a spacing of .406" string-to-string, however saddles are also available un-notched (or left-handed) should you want to tailor saddles to your own personal spacing scheme. Front view - click to enlarge Intonation of each saddle is carried out from the rear using a small Philips screwdriver. It's notable that the adjustment screws are offset from the centre of each saddle keyway, making for easy access between the strings rather than being blocked by them as on standard bridges. The offset adjustment screws are also responsible for a unique feature of the Tone-A-Matic, which may not be perfectly obvious on the first inspection (quote from Hipshot product description): Many people might gloss over this simply as an exercise in marketing speak, however this is a very understated and fundamentally important aspect of the design. It can better be explained through the following diagram: A combination of the offset adjustment screw and specially-shaped saddles allows slight pivoting motion around the adjustment screw's thread. Downward pressure from string tension over the saddle forces the saddle-to-bridge witness point down into the body of the bridge itself. Physically, this produces an efficient, tightly-coupled system and in theory, direct exchange of energy between the vibrating strings and the bridge body. This is what we want from a bridge. Traditional TOM saddle designs often lose this crucial direct coupling, with that energy needing to travel through more components which are often far less "locked together". Whether this makes the bridge sound better is of course up for discussion. What counts, is that if it is possible to improve sound through better coupling, then this is exactly how you go about it. High quality solidly-locked components with the shortest paths possible for energy transfer to reduces losses within a mechanism. Detail of saddle design - click to enlarge In addition to the capacious intonation range, the entire bridge itself is able to be offset on the mounting studs by around 7/32" (5,6mm) through milled slots on the underside and locking set screws. The Tone-A-Matic system comes complete with longer and shorter set screws, allowing you to choose the correct sizes for an invisible fit. Again, this locking mechanism strongly couples the bridge to the studs. Detail of bridge offset mechanism - click to enlarge Detail of bridge offset mechanism range - click to enlarge The normal procedure for most TOM setups is to offset the bass side of the bridge backwards in order to eak out the most from available intonation range. From a retrofitting standpoint, we don't need to have this offset any more. The Tune-A-Matic is more than capable of handling the intonation range required compared to original units. Instead, the Tone-A-Matic can occupy an existing offset stud pattern but be re-aligned so that it is perpendicular to the centreline....if you want! As a builder, figuring out ideal placement of a Nashville or ABR-1 bridge requires us to calculate in the offset to compensate for the limited intonation range the traditional units offer. ABR-1s are notoriously fickle, requiring that the bass-side of the bridge is offset backwards simply so that the instrument can be intonated at all. Nashvilles are more relaxed in this regard, but still need a little babying to find their ideal location. Quick Tip: The Tone-A-Matic makes this consideration for bridge compensation meaningless. Line your stud centres across a point 1/4" (6,4mm) back from the theoretical scale intonation line of your instrument. To confirm why this is so, consult Hipshot's comprehensive specification sheets. A welcome addition to the stoptail is the inclusion of two strong retention magnets. These simply prevent the stoptail from falling off the instrument during occasions when the instrument is without strings. Whilst not a ground-breaking innovation or even something that it is necessary, that Hipshot added this into the stoptail design shows that this is not a product where corners were cut for purposes of economy. Stoptail magnetic retention - click to enlarge click to enlarge The Tone-A-Matic is wider than traditional TOM designs, meaning it can be shallower without reducing unit strength. Not having bulk under the body allows the bridge to be laid closer to the body for slighter neck angles without need of recessing, or used higher as commonly found on more traditional TOM-style instruments. Bridge height comparison - click to enlarge click to enlarge Conclusion The market for TOM-style bridges is hugely competitive, with top-drawer offerings from ABM, Graph Tech, Tone Pros, etc. vying for sales through tit-for-tat marketing speak, voodoo and intangible claims. From a personal standpoint, this has always been a complete turnoff for me. Unless a claim can be proven or have some demonstrable basis in reality, it is likely just marketing. That's how the world works, and how company X spends big dollars to get their hand in your wallet. Hipshot's introduction of the Tone-A-Matic has been comparatively free of this thin veneer of marketing and presents a real and very solid product showing the quality engineering and pragmatic thought behind the design. Hipshot bridges always tend to be highly configurable and sell themselves off good old plain capability and stellar rep. That's what counts, and this is where smart money should be spent. I'm looking forward to seeing this bridge on more builds in future! A solid showing from the guys and girls over at Interlaken. Perhaps we'll see a wraparound one day? ----==---- At the time of writing, the Tone-A-Matic is available via the Hipshot Products website and should be filtering through to your local Hipshot distributors.
  16. View File Surunmaa 8-string compound scale guitar The Surunmaa design is an outline for a basic compound scale 8-string guitar over a 720mm (28,35") and 666mm (26,25") compound scaling. Initially designed for a single soapbar pickup (EMG 40-style, Seymour Duncan soapbars, etc.) with a minimal control pattern, the Surunmaa is a guitar focused on a tight toneful low end whilst maintaining a looser top end for more expressive solo work. The bridge configuration features the recently-released Hipshot Solo bridges allowing through-body stringing to be added. The modern headstock style derives from both an 80s Japanese influence with the a more modern Parker Fly-ish slant. Visit the support thread for information on build specifics and for further information on this design. Submitter Prostheta Submitted 06/28/2014 Category Instrument Plans
  17. Hey Everyone! Welcome to my new thread on my first proper guitar build! I've been designing this for a while and I'm currently doing an accurate drawing of what it will look like. I had help from people like @ScottR, @curtisa and more to progress in my design and make it better. So thank you to all of them. Here is the link to that thread. Just so you know, I have experience with woodworking and others so I'm not going into this with nothing. The Design So I have been designing off of a telecaster, shape wise, as I have always loved the shape. Other guitars I have designed from include a PRS, Gibson and one of my current guitars, a Lag Arkane. It is a 25" scale with 24 Frets. To start this whole project off, I drew round my Lag Arkane body to get a rough outline. Then I shaped the guitar from that, adding the Telecaster shape. The headstock I designed off a PRS and a guitar that an old guitar buddy was given, a Seraph Sabre. Look him up, Jon Beedle. Here's the original rough design shape of both guitar and headstock. After I got the rough design, I attempted at creating an accurate design however it failed because of improper measurements. So I scrapped it, you can see it in the other thread. The Hardware and other stuff Wood I've been looking into different kinds of wood for this guitar, however I finalised on Black Korina for the body. I made this decision because 1 I like the wood and 2 I can get my hands on it quite easily! I'll need two halves of it so I can route out the middle of the guitar and then glue the top over it (If that makes sense). For the neck I was thinking just Mahogany as I have a lot of very old mahogany to use. It's about 200 years old! and then an ebony fretboard. Electronics I'm thinking humbuckers, don't know what yet (leave suggestion if you wish) but one in the bridge, one in the neck. I was looking into P90s but i'd rather use pickups I'm familiar with at first. I will have the input on the front, like an SG with two Tone and a Volume Knob. I'm hoping to use a Gibson switch as my selector for pickups. Other Stuff The bridge is cheap (£16) but I don't wast anything expensive at the moment. I got it from Northwest Guitars. It's a hardtail and it's chunky which is what I wanted. Currently up to this day I only have this. The Build Last night, 18/02/17, I embarked on a new adventure. I had the advice of people on the other thread, had the equipment, had the pride so I set off drawing a new design. I started by placing my ruler down on the table and drawing out a beautifully straight 25" line for my High E to nut scale. I then made a mark where the 24th fret will be and drew a line 90 degrees to it (you'll see in the pictures) and then added 3mm and that is where my pickup shall go. At the Bridge end of the scale length, I got my bridge that I bought and measured it up to the line with my High E. (My High E saddle is protruded 85%-ish-of the way out). I then went about sketching around the bridge. Then I took the Saddles off the bridge and drew the 5 holes where the bridge is screwed on and then the 6 holes for the strings-see images. From there, I got the measurement from E to E which was 54mm and added 4mm to each side. From there I drew a line from the middle marks on the bridge to the Nut in order to get the fretboard width. As shown in the first few drawings. Upon starting this at 11;25 on 19/02/17 this is all I have done. I plan on finishing this drawing soon and then buying the wood and starting!! Next I am going to mark the humbuckers and draw the body shape and headstock.
  18. Hello fellow guitarists! I have a slight problemo. I've been designing this guitar for a while and have just drawn in the frets. It's a 25" scale with 24 frets however they do not reach near to my pickups. In fact from where fret 24 is there is a 24mm gap between the fret and the pickup hole. The length from the nut to the 24th fret is bang on too. Does anyone have any suggestions as to why this may have happened and if it is bad? Cheer, ~Retuos
  19. Hi there ! I've built a custom guitar and I've put 3 magnets. 1 single on the neck, 1 hum backer on the bridge and 1 piezoelectric. I use only 3 volumes (1 for each magnet) and a general volume. No switches for choosing a magnet. I must have done something wrong because the piezo does not work so good. I can barely hear it. Could someone please make a correct wiring diagram ? Thanks so much for your effort !
  20. Hey guys. I haven't done a build thread before, but decided to start one in any case. I've been working on the cheap family classical guitar that we brought from South Africa (nothing special). Unknown brand "Angelica". I haven't done any sanding/gluing or any other type of DIY work before really, hence why I decided to start on this. I'm still busy with it, but thought I'd share some photos of the transformation. Before photos - lots of dings and scratches, headstock was cracked that I roughly fixed before: Will upload some more soon
  21. Hi all, I'm planning to build a 1/2 size electric guitar for my 4 years old child, I can't find any tip about the string spacing, I don't think that a 1/2 scale has 1/2 string spacing, am I wrong? any tip? Thanks.
  22. Hello guys ! Here's a video I've done a couple of days ago Tell me what you think !
  23. Version 1.0


    The Surunmaa design is an outline for a basic compound scale 8-string guitar over a 720mm (28,35") and 666mm (26,25") compound scaling. Initially designed for a single soapbar pickup (EMG 40-style, Seymour Duncan soapbars, etc.) with a minimal control pattern, the Surunmaa is a guitar focused on a tight toneful low end whilst maintaining a looser top end for more expressive solo work. The bridge configuration features the recently-released Hipshot Solo bridges allowing through-body stringing to be added. The modern headstock style derives from both an 80s Japanese influence with the a more modern Parker Fly-ish slant. Visit the support thread for information on build specifics and for further information on this design.
  24. My current work in progress. Ibanez JEM Tree of Life style neck, with a self built BC Rich shape body, green invader pickups, a Floyd Rose trem and the middle pickup space will be filled with my own self made infinite sustain pickup.

    © Richard Eccles

  25. So, good day/morning/evening to everyone. Here I want to show you my second project. I call it Angry Strat specs: sapele body with maple top maple/wenge neck with wenge fingerboard, 25" Gotoh tuners and bridge Fokin demolition passive humbuckers set
  • Create New...