I seen one guy, the 50 year old with the thread, that started at the edge the decreased the router depth as he moved in to the middle, chiseling it after. So with the way you do, do you mean just rout once around the edge and use the sandpaper to blend a curve into it?? sorry if im not understanding..
Exactly. To me, the router step method is risky, somewhat dangerous, and you still have to blend it all by sanding anyway.
It's all preference, but it's easier to clamp to the body (and get everything lined up properly) if you glue it on first. Carving first gives you the option of starting over if you mess up.
My method of carving, for what it's worth (I haven't seen anyone else do it this way) is route a uniform-depth rabbet around the edge of the guitar, then simply sand down to it using a sanding disk on a drill. It took less than two hours per top and was easy on the arms.
I can't compare them directly to a Gibson because I've never actually played a Gibby LP plugged in. The burst sounds absolutely unbelieveable. It has Swineshead Runaways and it's pretty much everything I hoped for tone-wise. The blue one is still being set up but sounds alright but not great so far. It has GFS Vintage 59's which I'm honestly not thrilled with. The Goldtop sounds good but not great also. The GFS Mean 90's are decent pickups, but so far not my cup of tea. I'll probably keep them just for variety though.
Maybe it's my imagination, but the burst seems to resonate a little better than the other two. The differences are an aluminum tailpiece on it as opposed to a heavier one on the others, and I left a small area of the body hollow on the others. The thing that makes the biggest difference though is that the burst is strung with 11-52's with a wound g. The other two have 10's.
As far as price, I have a number in mind but I'm not sharing it until I've shopped around a little first.
Hey pyro! I have been busy, but these are the only guitars I've built since then. It's mostly been sports and school.
Good electronics in a crappy body is no worse than crappy electronics on a good body. I'm convinced that if you upgraded the pickups, electronics, hardware, and put a good neck on there, it would sound just fine.
All three built from scratch, my first ever. My photography skills are terrible and the flourecent lighting certainly doesn't make the finishes look very good, but this should give you some idea of what they look like.
Yeah. People tell me it works wonders...I've done several with and several without and never heard a difference. Go figure. Oh, people who actually hear a difference always say to use copper foil rather than aluminum. Copper is more conductive than aluminum so it does make sense, but aluminum should work alright if you can't get any copper.
I'm pretty clueless when it comes to wiring, but I believe the fact that touching the strings stops the buzzing means it's grounded properly (that's what the wire to the bridge is for, so that's not the problem). If the cavity isn't already shielded, you could try doing that.
Here's the begining part of my LP projects. I'll try to get some finished pictures up within the next couple of days. These three were my first from scratch and I had a blast. All three of them play really well, and the one with Swineshead pickups sounds absolutely unbelieveable (the other two have cheap GFS pickups and sound like crap). If I can be of any help, feel free to ask. I've bookmarked tons of resources so if you have a specific question about anything I can probably point you in the right direction.
I've discovered this product called Nu Finish. It's for restoring the shine on old auto finishes. I bought it thinking it might improve the gloss of my finishes, which it did, but it also makes necks ultra slick. You might want to try some of it before you take any steel wool to the neck as I feel like this actually makes it faster.
Heat will go a long way to helping. With a 30 watt soldering iron you'll still need to hold it on the fret for about 10-15 seconds before trying to lift it, maybe even more. Rather than using end nippers, buy some dedicated fret pullers from LMI or Stewmac - they're worth the money. Start at one end of the fret. Work your way under it, then walk the pullers across the board to the other side, lifting a little at a time. If you get any significant chipping, you're probably doing something wrong.
He came up with the idea and design of the fanned fretboard and he got a pattent on it (I assume). He can EASILY sue you if you ever try to make a profit off of it, although making one for your self is easier to get away with.
Calum's got the right idea. I had a similar problem the first time I assembled my Warmoth, and there was DEFFINATELY nothing wrong with the way Warmoth cut their neck pocket. Get a friend to put pressure on the neck while you adjust the screws. You may also want to shim one side of the pocket with a piece of plastic pic. If all else fails, you can reslot the saddles off center.
Actually, a normal Floyd Rose bridge should work fine with a neck angle as long as you don't try to recess it. I retrofitted a Floyd Speedloader (same dimensions as the original) on a Charvel with a neck angle and it's fine.
To get the sound you're looking for, you'll have to do a simple modification. Buy a vintage, low output humbucker -- preferably something with an alnico II magnet(s) -- and install a push-pull pot for coil tapping. That way you'll be able to turn one coil off and get the single coil sound. Or you can wire it for in phase/out of phase, which out of phase results in a nasal, thin sound. Then you can get warmer, full humbucker tones by turning the coil splitting or out of phase off.
Good call. The Seymour Duncan Alnico II Pro might be a good choice for that.
hey pacman, I bought two boards of mahogany roughly 8.5" wide by 4 feet long and was able to get three bodies and three necks out of it. Depending on how wide your piece is, you may be able to do the same. If you don't need them all, glue and plane them and sell the blanks at a profit.