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Discussion in 'Tele Home Depot' started by preeb, Mar 28, 2013.
Subscribed. Looking forward to this.
I take the rout all the way up to the end of the tenon. If you place the neck pickup a slight way back from the end of the fretboard it's possible to wiggle a hex key in there ... if the nut is placed relative to the length of the average L-shaped hex key. But I find the neck pickup needs to be hard up against the fretboard end in most cases (22 fret, 25" scale) for tonal reasons - pickup placement is possibly more important than pickup construction where you have the choice of their positions.
To adjust, I undo the 4 screws (one more than a truss rod cover) of the neck pickup, detune the strings and have at it. TBH, with a martin-style trussrod, glued correctly, I only have ever adjusted the rod once after all the wood settles in.
Although I don't live in a wildly fluctuating humidity place.
Reading stuff like this really gives me the itch... I cant wait for my 1st build... A pleasure to read, I hope you achieve what you set out for and more.
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I do mine like that. You pop out the bridge pickup (at least that's what I do.)
I was curious if he had a different approach like using a wagonwheel trussrod adjuster.
Been eagerly awaiting this thread...looking great! I really like the revised cutaway, seems to give her more classic "automotive" style curves which is always a good thing in my book.
Top joint is dry after being over night under pressure.
Maple top is flush routed with the Mahogany
Template is attached
and the control markers are drilled
Input jack location and drill angle are marked
Back cavities pin router template is set
I use a higher pin height for the main cavities
and rout away
The lower pin is used for the covers routs
Next step is defining the dish carve shape for the duplicarver.
I'm going after a fluent round dish with deep recurve towards the edges.
I start the operation by routing the perimeter with a 3/4" round nose using the outline template as a guide for the pin router. From here on it's a slow hand operation that takes quite a few hours. When done I smooth everything and use my hand to feel for any high spots.
I cover the HDF with thin CA glue and sand smooth. This will be the Master template and I might be able to change it a bit if needed. The working template will be copied on the duplicarver when I'm happy with the results.
Argh! I'd forgotten what it's like to wait for Preeb updates! I'm going to wear out my mouse, clicking the "Refresh" button...
For sure! So many builds, so little time.
This one is worth it for sure. Awesome stuff.
Here's a few more photos after sanding and buffing the cured CA.
The surface needs to be very hard and smooth for the duplicarver pilot to move fluently.
Neat insert trick, Gil. Curious - have you considered hidden chambers in the Paulownia? Not sure if it would be tonally shaped like you want that way but the weight reduction might be interesting.
Unusual as usual...
thank you Gil, I'll be staring
I'm enjoying this thread and build.
What do you think the guitar would sound like with just the hollowed mahogany body and the maple cap (without the Paulownia insert)?
I offer chambering on my LP builds and I guess I can do the same here if it ever goes into production in the future, but I have a strong feeling it doesn't need this. I tapped the body today against a premium LP body and it looks like I'm on the right direction to say the least (-; We'll have to wait until it's done and well tested by players and see what they have to say.
It will be neck heavy and probably sound like a small sized ES-330 on steroids (-;
Others have used balsa cores and inserts before (notably Gibson and Parker), but I doubt they used a freezer and a mallet!
Can't wait to "hear" this one, along with seeing the finished product!
It's all about precision, and violins!
What a great thread, thanks for sharing this with us Gil! I've admired your guitars for years, and am really excited to see that you are going in this new direction.
That piece of mahogany is as beautiful as I've ever seen on a guitar. I've got a few 50's Gibsons that have a similar pattern and have always wondered what type of cut produces that swirl in the middle. Can you describe more about what a "center slabbed" cut means? Maybe it's just a coincidence but my guitars that have this pattern are the most acoustically resonant solid bodied mahogany guitars that I own.
Also, do you have an idea yet of what this guitar will weigh?
As far as being neck heavy, have you considered some of the light weight tuner offerings such as the Gotohs? Also, a steel Callaham bridge in conjunction with light tuners may help cure your imbalance. ;-)