AndrewA's ES5-V

I've softened up Dave... my reggae thumb/palm mute technique cumulated in a large thumb blister lol

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Originally Posted by andrewdosborne

I've softened up Dave... my reggae thumb/palm mute technique cumulated in a large thumb blister lol

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As a disciple of Carol Kaye I have always played bass with a pick and as a consequence palm mute, left hand finger mute and also fret mute ( finger right on fret and slightly over hanging rather than muting with a free finger on the fretting hand )

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Originally Posted by dave.king1

As a disciple of Carol Kaye I have always played bass with a pick and as a consequence palm mute, left hand finger mute and also fret mute ( finger right on fret and slightly over hanging rather than muting with a free finger on the fretting hand )

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I used to play bass with a pick/palm muting/anything goes, but haven't played in a band/live for years.
I sometimes use tone foam to mute guitar strings when recording.

Update pics:
Attachment 16289
The back has come off, it was almost a shame to start by pulling a perfectly good guitar body apart. The inside bridge reinforcement block has come off, and some of the ply with it. It won't be seen, but I've partially filled the hole with sawdust/super glue to stop any further delamination.
Attachment 16290
The back had a few chips that needed re-glueing. The big key to getting it off gently is heat. Sometimes it pays to live somewhere that has 40 plus degree days during summer.

And foam guitar!
Attachment 16291
Shaping is nearly done, then it will need some sort of grain filler before painting.

wow Andrew first time I've seen a semi hollow the back come off the body !
Good to see what the inside looks like. Looks like you have it nicely glued/clamped.
Love the foam mini strat, has it been cut out of a block of foam ?

Hi Wokka, I need to replace the support block with sort of brace, similar to an acoustic. The "mini" foam strat has a 60cm scale length.

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Originally Posted by AndrewA

Update pics:
Attachment 16289
The back has come off, it was almost a shame to start by pulling a perfectly good guitar body apart. The inside bridge reinforcement block has come off, and some of the ply with it. It won't be seen, but I've partially filled the hole with sawdust/super glue to stop any further delamination.
Attachment 16290

The back had a few chips that needed re-glueing. The big key to getting it off gently is heat. Sometimes it pays to live somewhere that has 40 plus degree days during summer.

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Its not often you see a kit guitar build thread start in reverse on purpose! Thats some balls of steel to attempt to take the back off a new hollow body kit, Igor and I in the FrankenLab salute you sir!

This prompted me to look for the construction methods used in archtop guitars. I came across this page http://www.acousticfingerstyle.com/ArchtopGuitars.htm which has some interesting facts about the different speeds of sound in wood along the grain vs across the grain, and the reason archtop guitars normally have f-holes at the sides (to decrease sustain), rather than a round sound-hole.

Now a lot of that design philosophy doesn't apply when you are using laminated woods, as you've got plies running at approx. 90° to each other, plus the glue holding the plies together. So I'd assume the result is a guitar with less acoustic projection and a longer sustain.

I presume you are going to go for a Gibson archtop style simple parallel bracing?

Attachment 16318

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Originally Posted by Simon Barden

This prompted me to look for the construction methods used in archtop guitars. I came across this page http://www.acousticfingerstyle.com/ArchtopGuitars.htm which has some interesting facts about the different speeds of sound in wood along the grain vs across the grain, and the reason archtop guitars normally have f-holes at the sides (to decrease sustain), rather than a round sound-hole.

Now a lot of that design philosophy doesn't apply when you are using laminated woods, as you've got plies running at approx. 90° to each other, plus the glue holding the plies together. So I'd assume the result is a guitar with less acoustic projection and a longer sustain.

I presume you are going to go for a Gibson archtop style simple parallel bracing?

Attachment 16318

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Hi Simon, thanks for the research. That's a good link with lots of info.
I'm still undecided about parallel v X-brace, but yes, that is the general idea of what I'm going for.

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