Here is one of kits, shipped to a builder with a paddle headstock so he can do his own treatment, make it his own. It does make it stand out. The ebony headstock overlay with mop inlay looks great. The pickup is a custom built Seymour Duncan 78 humbucker on a p-90 chassis with dog eared cover.
Here are some pics of his build:
This is our LP kit, with a simple beautiful finish. The plain maple cap wood grain shows up so nicely on this. Here is what Eddie as said about our kits.
“Thanks for a awsome kit. it plays better than my $%$#@ guitar.
Great fret work. waiting for a prs style kit now. I used trans tint amber and cherry and mixed them till i got what i wanted it went on darker than i wanted so i took clean wet towels and rubbed it down till i got the color i was looking for.i kept the neck and back natural and the maple on the side is like binding like on a prs.
Thanks again
Eddie
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Jono has taken an old school approach to this guitar.
This is his words:
The idea is for this to be the live gig workhorse – something serious with good components and a great sound (you cant beat P 90’s for that live tone!) but withoutthe silly price tag.
I put in a shot of the neck being set – because the angle is built into the neck (perfectly) we could actually set it in a stand! with no issues!
For the finish I put on a couple of coats of “indoor polywax sealer” with a cloth and I think it looks understated and quite pretty, the strangest thing is that I’ve had the guitar for a while now and I still cant tell what colour it is! The combination of the sealer and the wood makes it look different under different lighting conditions.
I swear its the same finish in all the photos (there might be one of the raw wood in there?), it looks like a different guitar in each shot! I’ve seen this sealer on other guitars never with this effect, I love that mine came out mysteriously special… Thanks for using rich beautiful wood!
Jono
This is a good one, gold frets, beautiful paint work. The tobacco burst is just fantastic.
Dave has made a number of kits, always does just an excellent job, very good builder.
We worked with Hampton Guitars to design their own line of guitars. The owner had an idea in his head that he wanted to see as a guitar and we worked together to bring into being.
Now his company is up and running and selling his own line of guitars.
Here is one of our LP kits finished and out for play…
This is one of our Australian Customers. We made him a custom kit, flame maple cap, neck and body binding and trap inlays. He has done a fantastic job with it. The grain of the flame maple cap just pops out. This is what he sent along to us.
I have finally finished the LP kit i bought from you. I have to say one final thank you. It was so easy to make this guitar because everything was made so well before it even hit my hands. It took almost no setup at all as the neck fit like a glove.
I have played it for a couple of weeks and it is definitely my favorite guitar now. It just sounds massive, plays silky smooth and it truly is a joy to play.
Thanks.
Les
We work with a number of guys that are building their own line of guitar. Reid Hampton is one of those. He had an idea for a guitar line that he has always wanted to build and approached us and we were able to work in the flesh what his vision was in his head.
This is the initial result of our working together.
This is piece of writing from Gavin Downie, one of our great customers. He had sent along the pic below a while back that showed all of his guitars hanging on a wall, including our LP Jr. ( see the lil red beauty right in the middle ) I sent him a quick email back and asked about the guitars, any stories behind them. I think it is cool the stories that come out. I am interested in stuff like that.
This is the pic that started it all…and what I got back from him about guitars. Gavin works with a lot of touring acts, in the land of the All Blacks….. Notice Mr. Gibbons in the pic at the bottom.
Love it.. Guitar AreGREAT!!
Continue reading Gavin Downie, Guitar Tech from New Zealand And His Guitars
From Joe:
I started this from an LP with P90 routs. After a couple months working
with a friend on the finishing process, we sprayed the last of the clear
coats and then we let it dry for about a month. Here are some before and
after shots of the guitar in process..
Great neck, good wood, and great action.
Erik wrote to me a while back telling me about a guitar that he had years ago that he wished he had kept. It was an SG Jr., cherry stained. He wanted that guitar but updated and this time in a beautiful rich white. so he bought a kit from us and went about building a legend. He documented the process.
And apparently the Lollar pick ups are fantastic.
This is a great read on how to make one of our kits.
Take a read. here’s a link to Erik’s build blog.
This is a copy of an email Brian Majeski, Music Trades Magazine, sent me. It is great and has me scratching my head.
Why Are The Feds Gunning For Gibson, And Is This Any Way To Stimulate The Economy?
THE SIXTH AMENDMENT to the U.S. Constitution declares that “the accused shall enjoy the right to a speedy and public trial,” and must be “informed of the nature and cause of the accusation.” Based on their conduct in raiding the Gibson Guitar Company, agents from the FBI and the Fish and Wildlife Service could stand a refresher course in the law of the land. In November 2009, Fish and Wildlife agents, accompanied by a heavily armed FBI SWAT team, stormed Gibson’s Nashville plant and confiscated ebony fingerboards that had been imported from Madagascar. On August 24, 2011 the Feds gave an encore, rushing into Gibson factories in Memphis and Nashville with weapons drawn to confiscate ebony and rosewood from India. The urgency of this “shock and awe” display of enforcement power would suggest a serious crime had been committed. Yet nearly two years after the first raid, no formal charges have been filed, leaving Gibson management to ponder what exactly they stand accused of.
Continue reading Great Article On The Crazy Interpretation of The Lacey Act At Gibson Guitars
There is a Maker Faire in Vancouver this weekend. It is hailed as:
The ultimate DIY festival – It’s county fair meets science fair meets farmers market meets burning man for families!
My son and I are just about to go. I will let you know what we have seen.
The video that follows is from the MAKER FAIRE Vancouver website and it Dale Dougherty talking about us all having the ability to be makers, creators. It cracks me up what folks with imagination can get up and do, the is a fellow who makes scooter powered by a drill. He wanted to see if it could be done. There is a wonderful sense of accomplishment when you start out with an idea and end up with something having a physical presence
Worth the watch:
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What’s The Best Fender Guitar Neck Profile For You? Here is a great run down on the Fender Guitar Neck Profiles
C-shaped neck profile. The most common modern neck profile. C-shaped necks have a comfortable oval profile that works well for most playing styles. Usually not as deep as most U- and V-shaped neck profiles. Many Fender guitars, especially Stratocasters, now have a “modern C shape” (or “flat oval”) neck profile, a flattened variation of the traditional C shape.The term “neck profile” refers to the shape of the back of a guitar neck in cross section and is often used interchangeably with the term “back shape.” It’s also referred to simply as “neck shape,” although there are other important neck measurements with which “neck profile” shouldn’t be confused (i.e., neck width, neck depth and fingerboard radius).
Fine, but what does all this technical talk mean to the average guitar player who just wants to know what time it is rather than how to build a clock? What does it mean when you’re considering buying a Fender guitar with a description that mentions the instrument’s neck profile?
Before delving into the details, it’s important to understand that neck profile doesn’t affect the sound of the guitar itself; it affects the way you play it. There isn’t one shape that’s objectively better than another when it comes to soloing or chording or doing jazz licks or scissor kicks or whatever. It’s purely a matter of personal preference and playing comfort—originally instituted at the request of players who simply had their own individual preferences.
OK, now the details. Fender uses the letters C, U and V to designate its neck profiles, along with numerous variations of each. The actual shape of these letters roughly corresponds to the shape of the back the neck in cross section, and each may have varying depths—different thicknesses from the front of the neck to the back, resulting in terms such as “thick C shape” and “deep U shape,” etc.
There are also further subdivisions of each type, usually denoted by a design year or era (i.e., ’50s V shape, ’61 C shape, ’70s C shape), in which subtle period-specific variations in one of the basic neck profiles is recreated precisely.
There is occasional confusion about C, U and V neck profile designations and A, B, C and D neck width designations. From the early ’60s to the early ’70s, Fender referred specifically to the nut width of its instrument necks using the letters A (1 ½”), B (1 5/8″), C (1 ¾”) and D (1 7/8″). These letters were stamped on the butt-end of the necks and had nothing to do with neck profile.
Thanks!
Precision Guitar Kits
