GregP

OK, I'll keep that in mind, though I don't know how I'm going to get only 1 piece of higher fretwire. Greg

Spankin' good job. I think no matter WHAT letters you put there instead of SRV, people will still know that it's an SRV tribute, which still leaves 2 sides to the argument-- 1. People will know it's a tribute and will know where you're coming from, so you can put your own initials on there and people will still know who you're tipping your hat to. 2. If people already know it's a tribute to SRV, they might think it's lamer or pretentious to do it with your own initials, and would find it more credible that you're owning up to the tribute by using his initials. I'm kind of more persuaded by Drak's argument, but I can see the other side, too. As a rebuttal to #2, though-- pretentious?? Aren't ALL guitarists just egos with legs? Greg

I always thought you just used the same size fretwire for a zero fret. Someone please correct me if I'm wrong, as this was my plan for my guitar.... Not knowing, but just using what I know of guitars-- having a higher fret would result in the same intonation problems you'd get with a poorly cut nut, and would kind of eliminate the point of it, no? Ideally, I'd want a perfectly cut nut, but as I don't have the tools, I'm going to go with the zero fret. Greg

Is it just me, or is highly figured maple starting to become too 'done'? Don't get me wrong... I want to build one of my own, and I still like the look (except when the quilt is so strong and the colours so odd that it just looks like someone's gotten sick on their guitar) in general, but am I the only person to whom it doesn't inspire awe anymore? Quilted and flamed maple will always be a good look, the same way that a sunburst Strat will always look good to me. But it's so standardized now that it takes more exotic woods for me to drool. Exceptions for me are still blueburst or some variant (some of the recent Carries like the Pensa, for example), which I think looks sharp. Or a nice bold red. Greg

The guitar I'm working on is just a modification of existing designs. I took a CAD file of a 335, another one of a double-cutaway Les Paul, printed them out, superimposed them and used my eye and instinct to draw what I saw as a "metamorphosis" between the two of them. Once I had that done, I wanted a bit more precision, so I went back into the CAD program and modified the 335 drawing in order to match what I came up with using pencil and paper. I have yet to make a truly "original" design, so I'll let you know when the time comes. Greg

Aaaaannnd... We have our first candidate for "why the search function doesn't always work." Found Drak's cool-sounding tutorial. No pics (that MIGHT be my browser, mind you... it wasn't loading something else earlier, either). The information is still useful, but it'd be a lot clearer (especially to visual learners) with the pics intact. Another option, which I'm sure you've come across already, is the topographical map-then-rout option, like in the "Les Paul the Hard Way" tutorial found HERE, which is likely the method I'll be going with. The grider option sounds good, and the results speak for themselves on Perry's website; however, I AM one of those visual learners I mentioned, and at least with the gear I have here, I can't picture how it's done, exactly. Cheers, Greg

Install your neck. Set your bridge to its lowest height, and figure out how deep you have to recess it so that the strings are lying against the frets. Then you know that any adjustment up from there will give you clearance and you'll be able to adjust your action to the -amount- of clearance you want. Or so I've heard. Makes sense to me. Been discussed many many times around these parts, so if you do a search you'll find more info. Alternatively, use a tele-style-specific bridge. Remember that a TOM is 12" radius, so you'll either want to match the neck radius to that, or you'd better have some files for customizing the TOM's grooves. Greg

Image doesn't load over here. Greg

Pics will have to wait... been a busy couple days, as I got unexpectedly called in to work. I'll wait 'til it's glued up anyhow. StewMac order arrived today. I'll have to reshape the Les Paul pickguard a bit, but I suspected as much already. Since it's only a very little amount, I might just work at it with sandpaper. Went in to Home Hardware... bought the makings for those spool clamps, along with a block plane that does not look like it'll work, so I'll have to return it. Greg

Agree with all points above... properly grounded guitar will eliminate hum caused by ground loops (which are too often present on commercial guitars, even). However, proper shielding will reduce noise caused by fluorescents and suchlike. Also, I agree that aluminum foils does the job if you're not looking to get copper tape. The copper tape seems a pretty sound investment, though, at only $5 more than a roll of kitchen foil. I've only done it the kitchen foil way, and it worked fine. My copper foil came in today with my StewMac order, so I'll let you know how it goes when I re-do my guitar some day. One thing to consider, though-- the aluminum foil method worked fairly well because I had access to spray adhesive that someone else had already purchased. The experience would have been less enjoyable without the spray. If you do not already own spray adhesive, you'd be advised to buy it, in which case you're pretty close to what the copper tape would have cost in the first place. Greg

Nice make-shiftery with the router bits! Even without using either of those 'designs' per se, it shows that you can make something new with what you have instead of forking over another small stack of cash for specialty items. Not that I wouldn't mind the specialty item instead. I'll have to look-see what bits and bushings/bearings I have access to. Again... kick-ass guitar! Thanks, Greg

I liked the second revision of the original thread better, but that's just me. I'm sure you're already doing this, but I'll echo what others have already said: these are all just subjective opinions, and I'm sure none of us offer them as a personal criticism, but rather to help you improve the guitar's design. For the second revision on the orginal post, it still had a fat enough backside, which I thought looked better-- also, I suspected you'd be playing with the neck angled upward (though I didn't anticipate using the whole other leg), and it looked like at that angle it would indeed be balanced. In the current incarnation, I have to agree with Rhoads about the physical balance issues; but I also feel that the front bout is aesthetically dominant over the back, which is what's probably creating that nagging "what's wrong?" sensation with most people. We are accustomed to seeing the back bout dominate, and I can't even think of any in which the front dominates. So it's throwing people's perceptions for a loop and leaving me at least with the sensation that it's not visually OR physically balanced. Greg

REALLY efficient jigs? Ok, I'll get me coat...

Ansil, I'm sure glad you're around, mate. I REALLY have to look into this stuff. Funny, I wasn't at ALL interested in DIY electronics (except an amp, perhaps) but with almost every post of yours, the bug starts catching.... Greg

Uber-cool.

Sweetness! I'm glad to hear the maple top worked out-- the cupping on mine is also easily relieved with hand pressure. I know you said you don't have pics-- but what tool did you use for the rabet for the binding? A specialty tool, a router/jig, a router with a special bit? Man that's a great-looking axe... I can't wait to see the final product. Greg

The first one is really nice. It's not quite as wonky as the Schon one. Since it's just a sketch, the neck's come out a bit wide, but I can imagine what it would look like with a properly-dimensioned neck, and I think it's a winner. Greg

That makes sense, too. I'm sold on option #1! Rhoads, I'm off to check out your website... I don't think I've visited that portion of it before. Tomorrow... I post pictures of my scarf-joint neck-cutting excursion! Considering everything I went through, the results were pretty good! Now if only my parts would arrive... I'm eagerly awaiting mixed bags of goodies from Universal Jems, StewMac, and LMI, though I don't think the radiusing machine at LMI is fixed yet, so it'll be a while yet... Greg

Haven't many manufacturers used figured soft maples in necks before, or is it just my imagination? What was the MM EVH? It wouldn't be my personal choice... I'd rather not take the chance, but I'm fairly certain it's been done successfully before. Nice picture, Hyunsu! And your comments about the wood seem true about mahogany against soft maple... I think that 'stability' is more important than just 'hardness'. Know your wood! (I don't... yet...) Greg

Lee, I've never made a guitar before either, and the one I've chosen is about the same level of difficulty as a DC LP. That said, It'll be several months still (depending on when LMI ships my fretboard) before I even know if I was a success. Not that I'm saying it'll be comparable. I fully expect the action to be a little dodgier, the neck to be cruddier, and the playability in general to be less than what a Gibson DC would be. Hey, it's my first guitar, after all! But it'll come in at $300 US or so by the time it's done, which means I could make another 5 or 6 for the cost of the non-custom-shop version. Swinging back the other way, though... there ARE some guitars that are still worth paying for, and I'd rank the Gibson DC LP as one of them. Greg

I think it's loads better. Almost like night and day, as far as I'm concerned. Still, not my cup of tea. As for the leg position thing, I actually find most guitars have it too far forward to be truly ergonomic, but we all get used to it and therefore find the 'standard' to be more comfortable out of familiarity. Greg

I have to admit, I use the front markers a lot... it makes me look a doofus as I'm hunched over (subconsciously, but still...) looking at them. I really need to practice no-look playing more. As for the pattern you're looking at, I think it's killer. I also prefer it to the standard 'down the middle'. As for playability, there must be ZERO effect for the vast majority of people. Why do I say that? As an admitted front-marker-looker, I just had to go double-check my Godin to see what pattern it uses, and sure enough it's one like the one you're considering, using even smaller dots than the pic you provided. I suspected as much, but if I had to go double-check just to be sure, that says something. Greg

Make it! C'mon.... SOMEONE would have said it sooner or later, so why not me?

Pretty sweet! I prefer traditional 'V' or Jackson-style headstocks, but the guitar overall is a corker. Greg

A mish-mash of influences going on-- I won't list them all because then you'll be thinking of the songs they remind you of. Hey, good singing!! Not polished, but in a good way as it suits the 'jam' atmosphere of it all. Good guitar work, too. You can tell that with a better mix that emphasized the guitar a bit more, you'd notice a pretty stonkin' tone. Nice to have the crowd scream when you take the solo, eh? Great stuff! Greg