Archive for the ‘General Electric Guitar Building’ Category

Introducing The Legato Bass Guitar Plan

Introducing The Legato Bass Guitar Plan

Finally, after dozens of request, I have added plans for a bass guitar to my order page. I love the look of this one. It’s based on the shape of the Legato, which is my best selling electric guitar plan. Check it out:

4 strings, 34 inch scale and a standard P-J pickup config.

As soon as I finish my current project, I plan to build this one. Can’t wait carve out this one. Stay tuned!

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You Want A Bass Guitar? You Got It!

You Want A Bass Guitar? You Got It!

I’ve had so many requests to design a bass guitar, I finally had to do something about it. Here’s a sneak peak at what I am working on:

Right now it's going to be a neck through, 4 stringer with a 34" scale.

The shape is based on a modified Legato body. I haven’t decided on the electronics yet, so if anyone would like to chime in, I’d be more than happy to entertain your suggestions.

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17 Steps To Applying A Gloss Finish To Your Electric Guitar

17 Steps To Applying A Gloss Finish To Your Electric Guitar

There are a lot of different ways to finish your guitar project and how you go about it depends on the results your after. For my latest electric guitar build, I wanted to stain the wood in order to bring out the figure in both the Maple and the Bubinga. Then, I wanted to give it a shiny gloss top coat.

As you may already know, I have been experimenting with Hydrocoat Resisthane Plus as a water-based lacquer. In the past, I used nitrocellulose lacquer. However, in my quest to go green, I decided to switch. And boy am I glad I did.

In the end, the only advantage nitro has over water-based is that nitro turns yellow over time which warms up the appearance of a guitar. But as far as ease of application, durability and clean-up, you just can’t beat Hydrocoat’s product.

I’ve used it on two guitars so far and the method I found that works best for applying it is as follows:

1. Sand the guitar to 220 grit, making sure there are no scratches or dings remaining.

2. Stain the wood with your favorite color stain. Water-based stain is best, but oil will work as long as you perform step 3.

3. After the stain has dried, wipe down the guitar with a lint-free rag moistened with denatured alcohol, especially if you used an oil-based stain.

4. Within 10 minutes of wiping down the guitar, spray on the first layer of Hydrocoat. It’s easier if you hang the guitar from the ceiling of your work area. Make sure you spray it on thin and light. Too much and it will run.

5. After an hour or so, rub down the guitar with some medium synthetic steel wool. It has to be synthetic since real steel with leave particles that will rust under a water-based top coat. Finish by wiping off the guitar with a clean, lint-free rag to remove any dust.

6. Spray on another thin and light coat of Hydrocoat.

7. Wait an hour or more and rub it down again, but with fine synthetic steel wool instead of medium and wipe it off with your clean rag.

8. Spray on a third thin and light coat of Hydrocoat.

9. Wait another hour or so and repeat steps 7 and 8.

10. After applying 4 thin and light coats, rub down the top of the body and headstock with fine synthetic steel wool and wipe it off with your clean rag.

11. With the guitar lying flat and level—top side up—spray on a thick layer of Hydrocoat onto the body and headstock. If the headstock is angled, you’ll need to wait for the body to dry so you can prop up the headstock until it’s level before you spray it. Make sure you don’t overdo the thick coat along the edges of the body or the headstock, otherwise you’ll get runs down the sides.

12. Repeat steps 10 and 11, to get two thick and smooth coats. Applying these thick coats helps to achieve a smoother surface that is easier to wet sand later.

13. After the guitar has dried at least a couple of hours, flip it over and repeat steps 10-12 on the back of the body and headstock. Don’t worry about the neck itself. If you apply a thick coat on the neck, the Hydrocoat will run down the sides. Once again, if the headstock is angled, you’ll have to wait for the back of the body to dry so you can prop it up and level the back of the headstock before spraying on the thick top coat.

14. Repeat step 13 for a second thick coat on the back of the body and headstock.

15. Wait a couple of hours and begin wet sanding. Start with 600 grit wet/dry paper soaked in water with a drop or two of liquid dish soap added for lubrication. The goal is to flatten and dull the surface. Once that has been achieved, proceed to 1,000 grit, then 1,500 and finally 2,000 grit. The last three grits should be done lightly and just long enough to remove the scratched from the previous grit.

16. To bring out the shine, polish the guitar with rubbing compound. I use 3M Finesse It rubbing compound. That stuff is miraculous.

17. Finish off with some automotive scratch and swirl remover.

Wow, 17 steps to finishing an electric guitar! That may seem like a lot, but with a water-based approach, it goes very quickly. I’d plan on two full days, start to finish. That’s nothing compared to nitrocellulose. After all, with nitro, you have to let the topcoats cure for a month before you wet sand. And don’t get me started on the solvents you’ll need for cleanup or the respirator you’ll need to wear or the explosion proof spray booth you’ll need to build!

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All I Can Say Is, “It’s About Time!”

All I Can Say Is, “It’s About Time!”

Could this be the bridge I’ve dreamed of?

http://evertune.com/

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Mojo and the Electric Guitar

Mojo and the Electric Guitar

I get a lot of questions from customers about what type of wood or components they should use when building their guitars. Most of these questions concern the impact their choices will have on tone. Based on my experiences with building electric guitars, I have made up the following graph to illustrate the level of tonal impact each part of an electric guitar will have.

This test was done using my Moncktronics MT2000 Tonal Spectrum Analyzer (my ears and experience!). As you can see, it’s the pickups that have the biggest impact on tone. Sure, wood has an affect, but nowhere near what changing a pickup does. In fact, I believe one could build a good sounding guitar out of plywood as long as they selected the right pickups.

So, why not build my guitars out of cheap and readily available plywood? Because, building electric guitars is hard work no matter what you use. If I am going to spend the hours and hours sawing, shaping and sanding wood, I’d rather use a really nice piece of solid hardwood. Besides, there’s no Mojo in plywood. Only voids!

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Highline Electric Guitar Pickups Are Now Available!

Highline Electric Guitar Pickups Are Now Available!

After months of planning, extensive research and development, the first batch of Highline Electric Guitar Pickups are now available. Initially, I will be offering standard sized humbuckers for both the bridge and neck position. Eventually, I will expand my offerings to include single coil and P90s.

Each humbucker pickup will be priced at $80US each or $150US per set. That’s a pretty good price when you consider each will be hand wound as I receive orders.

Highline Electric Guitar Pickups will be available in three flavors: Hot, Medium and Mild. Below are the specs for each:

• Hot Alnico 5 bridge: 16k DC resistance

• Hot Alnico 5 neck: 12k DC resistance

• Medium Alnico 5 bridge: 13K DC resistance

• Medium Alnico 2 neck: 11K DC resistance

• Mild Alnico 4 bridge: 8k DC resistance

• Mild Alnico 3 neck: 7k DC resistance

• All pickups will feature nickel silver baseplates, bobbins hand wound with 42-44 AWG SPN wire, nickel plated pole slugs and screws and shielded 4-conductor hookup wire.

So what makes my pickups different from all of the other boutique pickups out there? Well, first of all, I’m not trying to clone vintage pickups. Secondly, I am offering hand wound quality for a VERY competitive price.

Almost all of the hand wound pickups on the market attempt to recreate the tone produced by pickups made in the 1950s. The truth is, there are a couple of reasons why this can’t be done. To begin with, no one has ever defined “vintage tone.” There is no industry standard for pickup makers to shoot for. Therefore, one person’s idea of vintage tone is usually different from another’s. The other reason vintage pickups are impossible to replicate is because the materials used to make the old pickups don’t exist anymore. Some makers have resorted to fabricating their own parts, which dramatically increases the cost of the finished product. However, the coil, which is the most crucial part of a pickup, can’t be replicated because the wire made today is substantially different than what was made before 1965. If a boutique pickup maker claims to be using vintage spec wire, they’re stretching the truth. Unless the wire was made before 1965, which is highly unlikely, it’s not the same. And it has to be the same if you want that so called vintage tone.

Instead of chasing after the vintage ghost, I have elected to use modern coil wire and the best quality components I can source. Each bobbin is hand wound to insure a stronger and wider ranging signal than is possible with mass produced, machine wound pickups. Next, I pair the bobbins with the right Alnico grade magnet (magnetized by me) in order to insure the best tone possible for a specific output level. Then, I pot the pickups in a bath of parafin and beeswax.

My goal is to sell hand wound pickups at price that won’t break the bank. And if you’re building a guitar from one of my plans, there’s no better way to finish it off than with a set of Highline pickups!

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Three Sets Of Humbuckers Are Ready To Record

Three Sets Of Humbuckers Are Ready To Record

Over the last few days, I wound a set each of my Hot, Medium and Mild humbuckers. Next, I plan to install them one at a time in my mule guitar so I can record some sound samples of each set.

The way I plan to do this is to position a microphone in front of my small practice amp and record the exact same riffs in both a clean and dirty setting. That way, if you’re interested in purchasing a set, you can compare the tone of each model.

To be honest, I’ve never been a big fan of sound samples. After all, there are so many variables that can affect the tone you hear. The guitar, the amp, the recording format and your speakers are just a few of those variables. Then, there’s my skill as a guitarist. I’m no virtuoso, to say the least. But, my hope is to demonstrate the difference between the three different models. Maybe in the future, I’ll be able to hire a better guitarist to record the samples for me. Of course, if you purchase a set, I would encourage you to send me a recorded sample of your handy work.

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What’s Up With Vintage Pickups?

What’s Up With Vintage Pickups?

While doing the research and development for my upcoming line of pickups, I noticed almost all boutique pickup makers are trying to replicate vintage designs made in the late 1950s and early 1960s. So I dug a little deeper and discovered the really good makers are having the parts custom made to replicate not only the tone but the look as well. This got me to thinking about whether replication in terms of tone is even possible.

Making the parts is doable, though expensive. One can source the right composition for the bobbins, baseplates, pole pieces and so on, but when it comes to the coil wire, it’s a no go. It can’t be done. Wire made to day uses a more pure form of copper and a different method for annealing. Then there’s the insulation, which is a different composition and thickness. And since the coil wire plays the biggest role in determining tone, it’s not possible to replicate a 1960 Gibson PAF without the same wire. I checked into the possibility of having custom wire made to the old specs, but no one can do it precisely or in the small quantity I would need.

The other problem I have with chasing this so-called “vintage tone” is the fact that no one has ever defined what this tone is. There is no industry standard to shoot for. Since pickups from that era varied widely in their construction and resulting tone, very few sounded alike. Therefore, some were good and some were bad. The real problem is with the passage of time. Pickups from those days have attained an almost mythical status, which leads many to assume they all sounded good. With so many boutique pickup makers pushing vintage spec pickups, one has to wonder what spec they’re trying to replicate.

Another thought I have on cloning old school pickups is the market for them. I suspect most of the buyers with cash in hand are older generation players who value the tone made famous through the sixties and seventies. I have no problem with this, but what about today’s younger players who want power and tone? Most of them have no idea what vintage tone is.

I can listen to Duane Allman, Jimmy Page and Bill Gibbons and say, “that’s great tone,” but it isn’t necessarily what I want to play. One thing I do know is I want not only modern tone, but I also want wide ranging tone so I don’t feel boxed in when I jump from rhythm to lead.

In the recent past, active pickups have been the choice. While great for grinding drop D rhythm, they send to suffer in terms of tone. Many players complain of flat, narrow ranging tone. But, if you reign in the testosterone, you’ll realize both power, volume and broad ranging tone from passive pickups. If they’re made right.

And that, my good friends is the whole reason behind Highline Electric Guitar Pickups. Power AND tone.

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The Latest From My Workbench

The Latest From My Workbench

The Legato electric guitar I’ve been working on is nearly complete. Right now I have most of the assembly done, including the wiring. Hopefully, I’ll have it ready for sale along with my Tomahawk within the next week or so.

Other than my current build, I’ve been deep in product development and testing for my soon-to-be available line of humbucker pickups. So far, I’ve finished with the Hot, Medium and Mild variations, which I’m very pleased with. Next, I plan to record some samples of each design and will add them to a revised Pickups for Sale page that will go live when everything is ready.

Winding up a set of Hots

Winding up a set of Hots

A full bobbin is a beautiful thing

A full bobbin is a beautiful thing

Stay tuned for more exciting updates as the happen.

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Dig the Tone!

Dig the Tone!

Paul from New Zealand via Sweden (don’t ask, it’s complicated!) asked me to wind him a set of pickups similar to DiMarzio Super Distortions. The result? Check out his video.

watch?v=V4Krojmbbnc

Oh, and by the way, he built the guitar himself. I helped him with the design, which was patterned after an Ibanez RG.

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