What's on YOUR workbench right now?

cmjohnson

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Blue would look good on an ebony board, or an African Blackwood board. Black and blue is always a good combination.
 

dcomiskey

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Blue can work in certain situations. This is a build I'm close to finishing for my friend who sings in a cover/Irish bar band. I gave her 5 options and she loved the turquoise dots. It's grown on me with the redwood top. (PS: the body underneath is for a forum member. I haven't forgotten!)
 

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dcomiskey

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BTW, getting back on the horse lately. I have so many builds in progress. I lost the fretboard to a router grabbing it and snapping it in half, but had a twin ready to go. Also, been having fun making some laminated necks and bodies. This is flame maple and wage. It's 5" wide. :)
Today, I'm cutting up that 10' piece of pommelle sapele to make a laminate body and two matching tops. Also looking to make a neck-thru laminate, too!

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LPTDMSV

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Yeah....this is a semi practice neck and with USPS being all screwed up the dots I had on order were way behind. My brother is doing an epoxy table so I decided to move this along and see what I thought using epoxy/tint for dots. The color and shine is pretty impressive and the hardness is nice. But all in all not really a style I usually go for.
Opinions on the blue inlays? I’m on the fence.

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I think if you had some actual lapis lazuli, or turquoise, that would be very cool
 

dcomiskey

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I cut up some of the 10’ pommelle sapele board I got a couple of weeks ago. My original intention is use maple veneer strips between the three pieces. It’s 2.25” thick, so I’ll slice it up more to have a body AND two matching drop tops. However, I also have this block of quilted maple that I’m also thinking of using as the middle piece instead. What do you guys think? I still have just over 5’ of the board left. The other end of it is just as quilty as the top piece below, which would match better. But, not sure I want to cut up the board any more, as I’m thinking of doing a couple of neck-thru neck blanks from it.
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Zeegler

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A customer brought in this Epiphone ES-295 for a set-up. Unfortunately, someone had tried to hold the floating bridge in place with double sided tape. It didn't work as the bridge was way out of place. You can see the glue residue in the first pic where the bridge should have been. I assume it had been like this for a while, as someone had attempted to intonate it, and all the saddles were adjusted all the way back. Didn't help, as the strings were all massively sharp at the upper frets. I managed to gently pry the bridge away from the top, clean off all the goo, and relocate the bridge. This bridge was not going to stay in place. As soon as I started tuning to pitch, the bridge started sliding towards the neck. So I did what should have been done at the factory and pinned the bridge. She now intonates perfectly and has plenty of adjustment left. In the last picture, you can compare to the first pic and see how much I had to move the bridge.




 

Freddy G

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A customer brought in this Epiphone ES-295 for a set-up. Unfortunately, someone had tried to hold the floating bridge in place with double sided tape. It didn't work as the bridge was way out of place. You can see the glue residue in the first pic where the bridge should have been. I assume it had been like this for a while, as someone had attempted to intonate it, and all the saddles were adjusted all the way back. Didn't help, as the strings were all massively sharp at the upper frets. I managed to gently pry the bridge away from the top, clean off all the goo, and relocate the bridge. This bridge was not going to stay in place. As soon as I started tuning to pitch, the bridge started sliding towards the neck. So I did what should have been done at the factory and pinned the bridge. She now intonates perfectly and has plenty of adjustment left. In the last picture, you can compare to the first pic and see how much I had to move the bridge.





Pics of your shop assistant please!
 

Jure

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Hello everyone.
This has been on my workbench for the last three months. Black korina body and neck, rosewood fingerboard. Not exactly copy of any particular guitar but mix of many.
image6.jpeg

image3.jpeg

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Next step will be to rout the recess for control cavity cover. In the past builds i used plastic covers so if the recess was a bit small after lacquering i just sanded the cover. This time the cover will be from wood and also lacquered with nitro. How much larger than cover should I make the recess so the cover will fit? Somewhere in the back of my mind I have the number that lacquer is about 0.3mm and the gap should be 0.4. Which would mean the recess should be 1mm larger than cover. Is that correct?

image2 (1).jpeg





Lesson learned from this build is that spiral flush trim bits or bits with angled cutting edge are so much better than straight bits. They are really worth the extra money.

And this burl poplar will be o my workbench for the next build in a year or two.

IMG_5900.jpg
 

Freddy G

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Hello everyone.
This has been on my workbench for the last three months. Black korina body and neck, rosewood fingerboard. Not exactly copy of any particular guitar but mix of many.
View attachment 521347
View attachment 521345
View attachment 521346
View attachment 521348




Next step will be to rout the recess for control cavity cover. In the past builds i used plastic covers so if the recess was a bit small after lacquering i just sanded the cover. This time the cover will be from wood and also lacquered with nitro. How much larger than cover should I make the recess so the cover will fit? Somewhere in the back of my mind I have the number that lacquer is about 0.3mm and the gap should be 0.4. Which would mean the recess should be 1mm larger than cover. Is that correct?

View attachment 521349




Lesson learned from this build is that spiral flush trim bits or bits with angled cutting edge are so much better than straight bits. They are really worth the extra money.

And this burl poplar will be o my workbench for the next build in a year or two.

View attachment 521350
Nice! Nice lines and curves.
 

dcomiskey

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My very first figured mahogany neck blank. I can work around the worm holes. This shit is SUPER difficult to find anywhere. I'm convinced PRS has all of it bought up, save a few straggler pieces like this. Also, figured Douglas Fir top underneath! Who ever thought you could use THAT? :D

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