2009 Resurrection Eagle [9.8 lbs] :: flip pickups.

The guitar was previously wired so that the coil taps activated the bridge-side of each humbucker.  The player wanted a warmer single coil sound (coil tap on neck side), so the pickups were each rotated 180° (bass to treble).  I could have rewired each pickup but I did not want to splice in extra lead lengths.

Chubbuck Guitars build prep :: productive week.

I changed out my knives on the jointer so I wanted to prep the next hollowbody build cycle.  The back row (left to right):

  1. European maple top & back (Mousa 003 hollowbody)
  2. Flame mahogany top & back (Mousa 004 semi hollowbody)
  3. Claro walnut back & redwood top (Mousa 005 semi hollowbody)

I also prepped neck blanks for M3 (3-piece flame maple), M4 (flame mahogany) and five mahogany acoustic necks (two set aside for K001 & R005).  Mousa 005 will most likely be getting a Claro walnut neck.

Next week will be back to binding acoustic bodies for  Kalliope 001 and Rogue 005.

#fisheyeFriday

Chubbuck Mousa 003 :: neck blank.

Three piece flame rock maple blank glued-up.

Chubbuck Mousa 004 semi-hollow :: back joined.

Flame mahogany top, back, sides and neck for an upcoming build.

Chubbuck Mousa 004 semi-hollow :: flame mahogany top, back, sides and neck.

Gathering together another build with all flame mahogany.  The top and back are pie cut wedges, so they need to have their bottom’s trued before joining.

2009 Fender Tele American Special / Warmoth [8.1 lbs] :: neck carve and setup.

The neck is a Warmoth birdseye maple ‘59 carve that was thinned a bit and refinished with tung oil (wiping varnish).  Frets 12 and up were leveled and the neck set angle adjusted for the Mastery bridge.  The 3-way switch was intermittent so the contacts were cleaned as well.

Chubbuck Mousa 003 :: back joined.

One down, one to go (top plate).  Just replaced the knives on my jointer so it’s cutting really nice.

Chubbuck Mousa 003 :: flattening pie-cut maple.

Here I’m truing up the bottom of one half of the back plate to prep for joining.  In the past I have used a Safe T Planer in my drill press to take out the cup but opted to try hand planing for greater control.  A wider jointer would be ideal though.

Chubbuck Mousa 003 :: European maple top, back and sides.

Getting ready to flatten and join the top and back plate wedges for the next hollowbody build.  The sides need to be profiled before they are ready for the bending iron.

2007 Gibson Les Paul Studio [7.5 lbs] :: replace tuners and set up for drop D.

This came into the shop absolutely filthy with only three strings on it, the G tuner bent and the D tuner shaft broken off.  I spent a good amount of time cleaning the entire guitar before replacing the tuners with a new set of gold Grover Deluxe’s.  The bridge was also cleaned, lubricated and the saddle slots recut.

Note this is one of the lighter LP’s to grace my bench since I picked up the scale a couple months ago.

2007 Gibson Les Paul Studio :: quick case handle repair.

I offered to replace this broken electrical-taped Gibson handle but it was not in the owner’s budget. So of course I had to at least improve it with zip ties. It is still a sticky shoddy mess but at least shouldn’t let go for a little while. The damn thing almost fell to the ground when I picked it up initially - scared the shit out of me.

Fender Tele body / Warmoth neck :: neck carve.

I’m thinning this Warmoth ‘59 carve down a bit for a player and refinishing it with Tung oil (wiping varnish).

2012 PRS Modern Eagle Quatro [8.3 lbs] :: tremolo setup.

Maple body with a jet black finish and a thinly finished Indian rosewood neck.

2012 PRS Modern Eagle Quatro [8.3 lbs] :: setup.

Maple body with a jet black finish and a thinly finished Indian rosewood neck.

2004 Takamine AN10 [4.5 lbs] :: new bone split saddles.

Let’s start by saying I am not a big fan of split saddles or pin-less bridges (on a steel string).  They do look cool, but this combination makes setups take a little longer and pin-less bridges on steel string guitars always seem to fail faster.  Pin-less bridge designs are asking the glue joint alone to bear the weight of roughly 180 lbs of shear force from string tension.  Traditional pinned bridges allow the top to help relieve some of that tension from the glue joint.  As you can see from the photo, the two black dots on the rear of the bridge conceal bolts that many production manufacturers use to help keep the bridge on (but still fail eventually).  The bolts help locate the bridge during glue-up and also prevent catastrophic failure*.

This bridge has a slight gap forming behind the bridge, but nothing serious at the moment.  Ideally it should have been removed and re-glued but I wanted to keep this in budget.  It may have to visit the bench again in the future.  All in all, this guitar sounds great for a production dreadnought.

*Speaking of catastrophic failure, I was at a guitar show  years ago.  While everyone was setting up in the morning getting ready for the public, someone’s classical bridge let go and the bridge came flying off of the guitar.  Wow, it was a gut-wrenching sound that made me feel for the builder.