Inlay is done...still not as good as I'd like but ...I did my best. Need to do some filling, sanding and painting but its just too hot for me, might have to put this one on hold till we get a few cooler days
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Inlay is done...still not as good as I'd like but ...I did my best. Need to do some filling, sanding and painting but its just too hot for me, might have to put this one on hold till we get a few cooler days
What are you using as filler ?
I had the neck out from my Es-3 build the other day looking to cut the last 3 block inlays of Gold M.O.P, but typically, now can't find where I put the uncut pieces.......might have to re cut the whole lot again in white MOP, which I'm not looking forward to doing if I can help it..... God knows how people have the patience to cut elaborate shell inlay by hand.
Anyway, because I removed the original plastic block inlays, I found some of the MOP I cut, is not as thick as the plastic inlay was, so I need to build up a few of those inlay holes a fraction.
I have Art supplies of both powdered Charcoal, and of Graphite, since I have dyed the fretboard Black, I thought I'd use some of the powdered Charcoal to build it up to the required amount so that the inlay was flush with the top of the fretboard, then remove the inlay again, then soak in some super glue into the Charcoal so it sets hard in the holes, then glue in the inlay over the top...... seems the easiest way to get it flush without endless sanding.
I haven't tried this.....can you see any possible problems happening if I go down this trouble shooting route?
I use good old black timber mate Tweaky.
I still need to re-polish the stainless and I'm ready for the final colour coats of black once I mask everything again. Again, we wait for weather
Attachment 15645
Attachment 15646
Finally got some work done on this tonight. Sanded and taped up for final black coats!
even did a little sanding on my FV while waiting for timbermate to dry
Hi Dedman, in this weather the timbermate won't take long.
yay! final coats of black went on today!. masking up, nearly an hour.. spraying 5 mins. LOL
http://img.photobucket.com/albums/v2...ps0j83txv2.jpg
looking good Dedman, so the painting weather not been that flash ?
There's my 12k up haha
someone has been busy, looking good Dedman love the inlay
been too hot to do anything except sweat!
Nice one Deddy. love the black
Nice work, black is very unforgiving, but looks so good when it's done right
Looks like a stealth bomber in that last shot.
No doubt it will look very shiny once polished and hardware fitted.
it's amazing how just peeling the tape off to reveal the binding suddenly brings them to life
Yep, sure does. Just like watching a butterfly coming out of it's cocoon.
Gonna look amazing Deddy! These are one of my favourite kits to play, so this is going to be one killer axe dude.
cheers,
Gav.
Getting close to doing clear coats. I admit the binding around the F holes has been a right bugger to mask or scrape as its so thin. One last VERY CAREFUL scrape a light sand on the rest and she's ready for clear coats.
My other picture was blury so.... she has to share the limelight with V
http://img.photobucket.com/albums/v2...psngmiumnq.jpg
Looks great Dedman!
Was wondering where you had got to!
White binding is stunning, also looks good on the flying V.
first clear coats today
http://img.photobucket.com/albums/v2...pspt6hr7bi.jpg
looking great Dedman
so frikken glad my next build has no binding! well and truly over binding scraping atm
Hurrah for clear coats. Always the easiest coats to apply IMO, plus it means that you're nearly there!
Yeah, must admit I am not a fan of binding either.
How is the size of this one Dedman, is it an exact replica of a LP with F holes cut in it?
Cheers, waz
I haven't put it back to back with my LP, but it would be very close
Thanks buddy. Keen to know how it sounds once strung up, both plugged through an amp and unplugged, as if I were to build a semi hollow body or hollow body this is definitely one of the final 3 contenders. Just wish it came with a standard TOM bridge and tailpiece same as the LP.
you could order it that way Waz, or add the bridge yourself as there is plenty of wood up the centre. It's Super light, much lighter than my LP and lighter than the Jnr. I'm itchin to hear it too.
Yeah, the lesser weight issue comes up a lot on the reviews which would make it more comfortable to play standing up plus smaller than ES335 too.
I find full size hollow bodies too thick, my Gretsch is weighty (centerblock). My 2 favs to play at are the Jnr and the Strat but not happy with the sound on the Strat, might build a classic version later. I'm hoping to get a kind of Jet look and sound out of this but the budget didn't run to TV Jones pickups
Know what you mean. I have been eyeing off the GRSF1 for quite some time and your comments echoed my thoughts in that they always look too big and clumsy and by the time you pimp them up with TV Jones it becomes quite an expensive build.
Leaning more towards RC-1 with P90's as that looks an easier kit without having to feed things through the F holes. Always other priorities (bills mostly) that keep delaying making that decision.
Waz, here's a quick comparison of an LP-1SS and ES-2V I did ages ago.
Interesting Weirdy, my ES came with a LP style tail piece, I had to fill the holes.
Looking at the RC-1 one day as well Waz, maybe with gold foils for something different. But after the Jazzmaster , its going to be a P bass I think.
Argh! How did I miss this one. Cool build Dedman would love to know what you think of the pickups once finished. How goes on the job front? I wound up a gardening business last year that I had for over 10 years due to health issues, I know its not an easy time doing it. Then finding a job after being self employed can be interesting :confused:
As always, awesome work Dedman!
Sent from my Moto G4 Plus using Tapatalk
Thanks Scott. That is exactly what I was after.Quote:
Originally Posted by WeirdBits
How did it end up? Version #2 looked the better option without the pick guard.
Yeah, spoilt for choices as to what to build next.Quote:
Originally Posted by Dedman
Sorry its taken me so long to catch up with this build, just been really busy lately.Quote:
Originally Posted by Dedman
It looks really cool man.
Yeah I cut out some foam and stuffed it into the F holes while spraying so it covered the binding. worked out fine.
Good job so far Deddy.
First polish today for this and the V. Might wire this one over easter.
I got a couple of the Treble bleed thingy's but no instructions, where abouts do they go? I doing standard LP wiring, no splits or anything.
Attachment 18699
Attachment 18700
A treble bleed kit simply goes between the input and output lugs of a volume pot (no connection to a ground at all).
You need to be aware that in the 'both pups on' position, even if you have the volume pots wired in the 'vintage Gibson' manner - which normally allows you to have one volume pot turned right down and you still hear the other pickup (the 'modern Gibson' way gives no output at all in this position) - that you'll get no output as the signal is connected via the treble bypass capacitor to ground.
If you only ever knock the volume pots back a bit, then it's not an issue, but once you get below say 5/10, then the volume will start to roll off a lot quicker. The standard bleed kits are great for single volume guitars, but not great for two volume pot arrangements in the both pups on configuration.
For a twin volume guitar, I'd use the 'Kinman' configuration, which has the capacitor and resistor in series, rather than in parallel like the kit. This still gives a treble bleed (supposedly smoother as well as you turn down with the treble being less accented at low volumes), but because the resistor is in series with the capacitor, you'll still get some volume from a full-on pickup with the other one turned right down and a less obvious effect on the way the volume control of the 'working' pickup attenuates when used.
The standard bleed kits work as designed on the bridge or neck pickup only settings - it's only when the selector switch is in the middle that the effect occurs. And if you only knock one volume control back a bit, say to 8/10, with the other at 10/10 then you'll be OK. But if you normally wire in the 'modern Gibson' way, then you know that you already get no output with one volume pot turned down in the mix position, but the treble bleed circuit will exacerbate this effect slightly.
The 'vintage' wiring way is supposed to keep most of the treble content anyway at low volumes, so it may be preferable to use this this method than use the treble bleed kits.
But the guitar is looking pretty good!
Thanks Simon!