Ah damn! Hate when that happens. Only way really is to carefully try to lift it out with a scalpel. You'll need to scuff sand anyway before clears so that should do away with any raised edges from pulling the hair out. If it's any consolation, I had a white and transparent white guitar under finishing once. Our spraybooth wasn't exactly a "clean room" so I spent hours picking off dust, hair, and other particles in between coats. It was a nightmare.
Thanks! Along the path of the string. I have a new revision of this video coming up very soon that is a bit more clear on the matter than I was here :)
Looks incredible! I have a hb sg kit and was goingg to go for cherry red but im tempted to go for this now as purple is my fav colour. Do you know how it would react with shou sugi ban? I refinished an old cort bass a while back and did that,used tru oil on the body which sent it red,then used a red mahogany stain on the neck to get it to match as it was maple.
Oh cool! And yes I do know. I did the same on the 100% pine build. Burned it, sanded away the charr, and applied the same stain but in cherry red. Works really great and with some finish applied it gives a really cool effect. Did it with some serving platters and green too.
I find it odd, regarding the sanding process. You initially scuff sand so the paint has "something to grab onto". Then more and more attention is put into a smoother surface for additional paint and clear coat. What is these last coats grabbing on to ? I am planning a guitar finish with no sanding. Just using a soft cloth and a product called liquid sand paper. I'll see...
Yeah, a bit misleading there. Sorry about that. The idea with scuff sanding is to yes, scuff the surface to give the next layers something to "grab onto" however as you go about scuff sanding your goal is to get to as smooth a surface as possible (e.g. no orange peel texture). You are still using the same grit sandpaper to do this so the "scuffs" are still the same depth that that sandpaper cuts. This is what the final layers are grabbing onto as well. The aim of the smooth finish is after the final coat to be able to flat sand and then begin polishing, working up through the grits. Please do let me know how the liquid sandpaper works out, I am very curious! I suspect that it is just a very coarse polishing compound?
Thank you! Out of the next 8 or so builds, there isn't an Explorer-ish shape in there yet, but we'll see if I would make one in the future 😉 Closest I have is the 3-string bass I made in 2019, which was closer to a Thunderbird style shape.
Thanks for this. I have a question in regards to glue - I’ve seen some use it after the fret is installed down the sides and they scrape away the excess - you don’t do it here, do you not need to? Thanks in advance
You don't "technically" need to. It is something that I have started doing however, but instead applying CA glue in the slots, hammering in the frets, spraying accelerant and then cleaning up the residue. Mostly it is for that added extra support to slots that have been opened after pulling out frets.
The problem with pine is that it has to be very, very dry because otherwise it splinters easily. But I don't see why pine can't be used as a material to make the body of an electric guitar. The neck would undoubtedly be made of maple, since it is harder and withstands the tension of the strings better.
Absolutely right. And pine bodies have definitely made a sort of resurgence in the last few years! It's actually pretty cool to see. Still wouldn't recommend a neck, even though I have run into a few. And I mean, heck, mine is still in great condition after all these years (against all odds).
Great video, here's my opinion There were little differences here and there, but Im pretty sure a little turn of the bass knob would make a much bigger difference than buying a new expensive guitar. Besides, if every wood sounds unique, then why buy the more expensive ones? Also, now im interested in why jim lill had no difference in his video. I wonder whether you or him made some mistakes. Either way, im not buying an ultra-expensive guitar while i can get another that sounds the same for much much cheaper.
Might be that there were small differences, but I'll still attribute most to the whole picture with emphasis on construction. Incredibly hard thing to test for, but I have ideas... we'll see if they come to fruition. Now to address a couple of things: Why buy the expensive ones? Essentially the more expensive stuff (while they might be made of more expensive materials) boils down to craftsmanship. For instance anything made by hand will cost more due to the hours of actual labour put in ($/h). The more skilled or renowned a craftsman becomes, the more value is added to their work (more years experience at a job=better pay). That is 100% the case with the smaller luthiers and workshops out there, but also within the custom departments at bigger brands (though let's be fair, if it gets a stamp on the headstock from Gibson/Fender etc. it'll hike up the price even more so). You should get a guitar that inspires you. That's all it REALLY boils down to. If a cheaper guitar makes you want to play and feels great, then that is awesome. Collecting guitars is another thing, but not gonna get into. And then there is wanting a guitar from a certain maker to support their craft. Whatever floats your boat, as long as you pick up a guitar and pluck away :) Then about Jim Lill's video, which is a great video, but I do have my issues with it. He took a bolt-on design, with pickups installed so that they are suspended (pickguard/bridge) and bolted strings and the bridge onto two other surfaces. At face value when it comes to the string interacting with the pickup and resonance carrying over, he changed nothing/very little. I would love to see the same done, but with a set neck/through-neck with direct-mounted pickups. These three construction methods clearly have a different sound to them. Even with just pickups installed in a pickguard/surrounds, if you pit a bolt-on and set-neck together with the same parts, they will sound different with the bolt-on giving a bit more "twang" to the sound. I would love to recreate what I described, and perhaps one day will, but need the time and resources to make it happen in a much more controlled way than in this video. Thank you for your comment! Always great to hear different opinions on this matter 👍🏼
I haven't used a heat gun in about 9 years I don't think. It won't ruin the guitar, tons of people use that method, but you do need to be careful about the fumes as well as accidentally burning the wood in spots (that will be hell to sand away).
Interesting. For straight string pulls, where do you plan the location of each tuner peg in relation to the peg's string line? - Put the centerline of the peg on the string line? - Put the tighten edge of the peg (during righty-tight tuner turns of the tuner knob) on the peg's string line? - Or some other placement of the tuner peg in relation to the string line? Do you need to account for the diameter widening as the more of the string wraps around the peg? During design, what diameter do you use for the peg (not the hole to be drilled) in order to properly place the machine head in relation to its string line?
Fantastic question! So essentially I account for the first string wrap, so from the point of view of the side of the tuner shaft. The exponential diameter growth or added string winds I haven't come to notice as making all that much different to necessitate taking into the equation. I'd rather have the tuners look more cohesive between one another and the edge of the headstock than have to worry about all of them being incrementally at different distances. So simply put: commonly the shaft of the tuner where string wraps around is 6mm, so account for 3mm away from the point at which you drill the whole.
I sometimes use an Amplug3 headphone amp into a 10W or 60W powered speaker for playing small venues or jam sessions. Don't knock extreme portability - when you start getting old - and lugging a nice valve combo around becomes more than stupid. PS - great guitar!
Yeah this was a makers' space in Espoo, Finland where I did the larger processes. Unfortunately it was closed in 2019 :( nowadays I use another similar space
@@IPGuitars That is amazing, I wish we had these places in Australia. We have something called Men’s Shed and Men’s and Women’s Shed, which is a community type of thing but for antisocial people or people who just want to do some things and go it’s not so much fun.
As an introvert-leaning person, the fact that there are these places for antisocial people sounds great😅 but get where you're coming from. Makers' spaces are amazing when you aren't able to have a shop for yourself, I struggled quite a bit in the time between workshops.
@@IPGuitars In the current house I’ve been doing the work on my guitar by dragging power tools out onto the lawn on dry days. The other day I was bitten four times in a row on one leg by the same spider 😂 Still beats socialising 😂😂😂
Hi man, So after the paint you apply clear coat (is it okay if its just clear paint ? ) then after sanding you apply satin clear coat ? I’m a little confused. Please help.
Apply paint/sealer, then for final coats apply clear coat. In between sessions, scuff sand to prepare for new layers. After final layer, flat sand and polish (if need for polish). Your clear coat is what you want your end result to be, gloss, satin, or matte. In this video I had to do it twice as there was some miscommunication between satin and matte.
Thank you so much for taking the time to make this video! It was exactly what i needed to install my fishman's in my parts caster. Your step by step and your diagrams are awesome!
Oh yeah, most definitely agreed. But I was not trying to really salvage the fretboard here. However you're right and I should've atleast said in the video that if you do intend on keeping the fretboard patience is key.
Eres un excelente Luthier Constructor, pude observar como saben trabajar tus manos.Deberias mostrar mas tus construcciones.Desde ya muchas gracias y muy bueno tu trabajo.
Thanks for this! I don't know why but light colored fretboards (that aren't maple) annoy me. Like Indian Laurel. When you played the guitar later, did it stain your fingers at all?
I do get that yeah. And no, no pigment lifted off onto my fingers. This is why the prepwork and oiling is important. It will reduce any of the loose pigment on the surface.
Thanks! And drying time really depends on what you use. Spirit-based or water-based and how much you put on. Water-based will dry slower, spirit-based will dry quicker. But the more you put on the longer it will take to dry. You can see or feel when it is dry. A good rule of thumb: rather have many light coats that one really heavy coat to build up the finish you want.
Hard to recall, but if memory serves this was the spirit-based so I wanna say anywhere between 5-20min between layers. I think I put the oil on like atleast 8h later.
@@IPGuitars Thanks again. I am still thinking about which stain could be the best. Spirit based or water based stain (for the the Fretboard). I want to use the stain for an old classical guitar which i have sanded to bear wood ( Fretboard).
Either you were pushing the body blank through too fast, of that bandsaw REALLY needs a new blade 😋 Same with the belt sander on the headstock 😋😋 Or was that burns from the bandsaw doing the rough shaping? I didn't notice at the reveals, that you'e also an afficionado of having the strap button on the back-side of the upper horn, father than on the tip of it. Is the nut still from your Grandad's stash of brass that you inherited? Was it much easier making 2 guitars simultaneously? Mind you - you always seem to have multiple builds on the go at any one time anyways.
The bandsaw blades at the workshop are 90% of the time DONE😅 yeah, it was barely cutting, but I had to get this done. And those burns were from the bandsaw again on the headstock. Yeah, I really don't like the look of (or understand why) having the strap button at the end of the horn. Or like I kinda "get it" but it just doesn't work in my opinion. Yupp, same brass still :) there is NO WAY I can actually use that stock up in my lifetime. I find that doing multiples is easy to a certain point. If you're doing similar processes and you have everything set up, why not do all the ones at that point at the same time? When it gets to details, that's where deadlines start dictating the priority builds.
I have a bit to learn about guitar repair/building. My son's bass guitar was a right handed bass but he's left handed so I made a copy of the body, but in a left handed mirror image. It was a cheap bass but it looked & played great. Then I was given an Ovation Balladeer that had the spruce top destroyed, so I made a carbon fiber top for it. I tried to get the bridge in the same place, but I didn't know about scale length, so I didnt' measure. It plays okay, but it does not play nearly as nice as it did before the spruce top was broken. Nice job on that guitar. I love building things.
Those sound like two very cool projects! Shame about the scale length, would you be able to remove the bridge and put it back into its correct position?
@@IPGuitars Yeah, I can remove it. I glued it to the new top, but it's a glue that will get soft by heating it. When I made the carbon top and glued it to the body, I decided that I wouldn't set the bridge myself, so a friend that worked at a music store that had a lot of experience doing work to guitars said he would do it for me, but he passed away before I got him the guitar. It's possible that I got the scale length correct. I made a template of the broken guitar top that still had the bridge somewhat attacked to it. That template is how I located where to drill the 2 holes for the location pins in the bottom of the bridge. I didn't get something right, but I'm not sure what I got wrong. That guitar played as easily as an electric guitar before the original top was broken. Now it plays like a cheap acoustic.
If you're unsure of the scale length, the easiest way to check is measure from the nut to the 12th fret. Then measure from the 12th fret to the bridge (where the strings make contact). These two measurements should be the same.
Here's the thing no one really talks about. If "tonewood" is a thing, and wood affects the tone of a guitar then...wait for it...ALL wood is "tonewood". You can't say that wood affects the tone of a guitar and then claim that only certain woods effect the tone of the guitar. Either wood affects the tone or it doesn't. But that's what tonewood afficianatos claim, that only certain woods are "tonewood". That in itself creates the mythical quality to the term tonewood. Not only that, you can't predict it. Tone can be different in the same species of wood from tree to tree and region to region. My guess is, the "tone" impact from wood is simply due to the different density of wood.
THIS! You hit the nail right on its head. It quite literally makes my blood boil any time I hear the "you can't make an instrument out of this wood" and the holy Mahogany-Maple-Rosewood trinity. And also right that the biggest difference really is the density (and moisture content) of the wood. While I adhere to "it all being a part of the recipe" I in no way sign off on only some woods being acceptable. Hell, a guitar I made years ago sounded AMAZING and it had a birch body, oak top, holm oak fretboard, and a neck made of scrap mahogany skirting boards.
@@IPGuitars I’d think guitar makers would want to experiment with different woods. I think guitars were made from the holy trinity of tonewood and that simply became what people expected.
Fortunately, in the last few years experimentation has become more common and slowly but surely the guitar community is moving away from "If it ain't made like it was in the 50's and 60's, it ain't a good guitar." Funnily enough, it's been bass players who've always been more experimental.
It looks decent. Not so sure on the longevity of the neck & fretboard. Nice build. Novo use Pine on their $4000+ guitars, only on the bodies I believe.
Yeah pine bodies are actually surprisingly common. Even Fender brought it back for some models. While I definitely would not recommend a pine neck or fretboard in any case, I did make a video on this guitar now 4 years later. It's still holding up👌🏼
Looks like it was a great show, and a great showing for IP guitars. Bet it must have felt good to have many people pick up and play your guitars - cold and with no foreknowledge - and liking them. Who was the maker at approx 5 mins into the video? (setup section) The shapes are familiar or at least reminiscent of Uquendor or Orbital guitars.
It really was a great show. Felt suuuper weird in a way, but made me smile when people actually liked the guitars and asked a lot of questions. Definitely won't be my last Tonefest :) That maker is J.P. Skeba. He said he's been making guitars for about 2 years now, learning from watching people on RU-vid. I see the resemblance as well and JP did mention Uquendor as one of his influences.
@@IPGuitars Thanks - As you've noted yourself, it's difficult to break away from the typical LP or Strat shape and still make it appear balanced and attractive - so the envelope of possible shapes is shrinking daily and similarities of non-standard shapes will continue to pop up. Of course it felt weird - You're laying yourself wide open at these shows. It's not like the YT audience that knows you and has seen the creation and evolution of your guitars. Glad it was positive though - a "public" but still kind of safe space.
Pretty much yeah, Uquendor also asked me about my AFTER HOURS guitar as it bears resemblance, however that it solely inspired by Devin Townsend's Stormbender guitar and I started building it in 2016, waaay before I saw his guitars😅 But yes, all-in-all, 100% happy with how the show went.
