Pederson Custom Guitars - EuphoricMojo Sinker Redwood/Figured Koa

[CoolerKing]

Really amazing woodwork. Thanks for sharing as always.

[KevinLPederson]

Originally Posted by matthewpartrick

Really amazing woodwork. Thanks for sharing as always.

Thanks matthewpartrick. Thanks for the comment. If youre going to be in Woodstock, stop by and introduce yourself...you can play my guitar(s). I would love that.

Kevin.

[KevinLPederson]

This pic is back in this thread. I've been doing a lot of strength testing and deflection tuning on my guitars.

I like to strength test stuff.



Better to find out before its too late.

Kevin.

[CoolerKing]

Originally Posted by KevinLPederson

Thanks matthewpartrick. Thanks for the comment. If youre going to be in Woodstock, stop by and introduce yourself...you can play my guitar(s). I would love that.

Kevin.

I'm going to make every effort to be there and will be sure to introduce myself...

[KevinLPederson]

Originally Posted by matthewpartrick

I'm going to make every effort to be there and will be sure to introduce myself...

very very cool, looking forward to it.

Kevin.

[Nut]

WOW.
If I ever win the LOTTO.......................................

[KevinLPederson]

Originally Posted by Nut

WOW.
If I ever win the LOTTO.......................................

Let me know if you do.

Kevin.

[KevinLPederson]

With the thread about truss rods/adjustable necks, I thought I would show a little bit how I construct my necks on my adjustable neck models. Bolt on (fixed) or adjustable neck.

For the most part, I like to laminate my necks ala Jim Olson, and multitudes of others. I do use one piece mahogany necks too...the fourth one back in this first pick is just that.



I do like neck laminations for stability and strength. next I put the Allied compression truss rod in. I'm also using Titanium dual action truss rods and the single rod dual action versions too.



Here you see that my CF rods extend all the way into the overhang and sandwich all this together. I also drive two CF "piles" down into the heel similar to the McPherson brass piece. I don't have a pic of the two CF piles though. Also in this picture I've dropped the truss rod in, and I've put a maple spline wood piece over it and "compressed" it snuggly down onto the truss rod (does not rattle any time whether in neutral or engaged). You'll also notice that I've "covered" the truss nut. I put a small piece of wood glued in over the nut, butted up against the top strap piece and then the wood spline is glued on that and glued on top of the truss rod strap. It traps the strap, trapping the rod entirely. This makes the steel strap on top engage the natural string compression, even when its in "neutral". If you don't do this, your rod is basically sitting in a "sleeve" just pushing the middle of the neck up or down, not working against string compression.



In this pic from the front side you can see that the headstock overlay will now be laminated over this spline on the top of the truss nut too...so now its fully employed to resist string compression by being sandwiched in. I use a jig to relieve the wood in front of the nut so I can adjust it when needed.



These necks are stiff, stable and adjustable. There won't be a "hump" over the body.

Also my CF rods are tapered, being deeper as they get to the heel. Hope you enjoy it.

Kevin.

[KevinLPederson]

This is how my neck with the truss rod finally ends up. The rod is embedded in the neck; the top strap trapped via the little wood placed directly over the adjusting nut. Its butted up against the top strap...then the spline that covers the entire rod is glued over the truss rod strap AND this little piece of wood over the truss nut. Then the fingerboard is laminated on the neck shaft and the headstock overlay is laminated over the truss nut/truss nut wood piece. Its all sandwiched in there. When the strings start to compress the neck via tuning tension, unadjusted, the truss rod is resisting the compression because that top rod is hemmed in. Then as I start to tighten it the rod pushes out from each end - a compression truss rod. Super stiff necks, very little adjustment needed. Thats how I do it.

Kevin.

[SJ VanSandt]

Thanks for posting the neck pictures with explanation, Kevin. It really helps me better understand what's being debated over in that other thread.

[KevinLPederson]

Originally Posted by SJ VanSandt

Thanks for posting the neck pictures with explanation, Kevin. It really helps me better understand what's being debated over in that other thread.

Hi SJ VanSandt - I think it helps to reveal a little about how I'm doing this. Can't really show everything, but in this case I can. It works great and is very stable/stiff.

Kevin.

[KevinLPederson]

I try to be as original as I can. And said this previously in this thread " We are all closely related, things trend, but we should try be a pioneer of some sort. At least try."

Some things, I have no idea who originated, so its hard to give credit. But I certainly don't claim credit for those things. I just try to put my spin on things as much as I can and not overtly copy.

I didn't invent the adjustable neck, but I do it differently than how I see others achieving it. I didn't invent the x brace or the side sound holes but I do those differently than others.

I did invent adjustable acoustic saddles though, to adjust for intonation.



I think this is pretty original.



and I've got another cool one I'm working on now.

Hope you enjoy your day today.

Kevin.










Kevin.

[KevinLPederson]

Here is how I cut the frets down and round or "dome shape" the ends.

I want a better consistency on the "fret line" as you sight down the edge of the fret board with these parabolicly shaped fret ends. I decided to make a faux 25.5" scale fingerboard form baltic birch. I did this on my taper jig. Then I slotted it. I made a couple hold downs. I bought a metal cutting 8" saw blade for my table saw. I clamp the frets down and use a hold down, I adapted all this for my taper jig so I could get more consistent. By doing it this way, I'm able to cut the same taper into the frets at their exact location.



So I cut one side, the I cut the other side.



Yes, I'm glad you asked. This is VERY time consuming. That is why hand made guitars are expensive. Factories don't do this, neither do some high end makers. Just to make the jigs and buy the saw blade to do this is expensive.

Here they've been cut and I'm rounding the ends off (not done yet in this pic). One at a time...through several grits of sandpaper. Factory guitars made 433 guitars while it took me time to round/polish the ends of two guitars (both will be at Woodstock ).



The result is this.





Hope you enjoyed this idea.

Kevin.

[Mark Hatcher]

Hey Kevin,

I've been using a somewhat similar method to cut my frets to length accurately. I notice you're saying this is for 25.5" scale, I just want to mention that it doesn't matter what scale you use after you cut your frets on your jig because each fret will be properly proportioned so one jig is good for all scales.

Best Regards,
Mark

[KevinLPederson]

Originally Posted by Mark Hatcher

Hey Kevin,

I've been using a somewhat similar method to cut my frets to length accurately. I notice you're saying this is for 25.5" scale, I just want to mention that it doesn't matter what scale you use after you cut your frets on your jig because each fret will be properly proportioned so one jig is good for all scales.

Best Regards,
Mark

Hey Mark - by no means do I think I'm the only one doing it this way. I just wanted to speed up this process a little and put a little more accuracy in the process - by running it down my taper jig with power . I didn't really want to dilute the accuracy so I just chose to use the exact locations of the frets. With the fretboard taper even moving the frets a tiny bit will change their width. I know your saying the change in most fret scales is very minute...but I wanted retain that last touch of accuracy.

Kevin.