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#31
11-08-2010, 06:10 PM
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Awesome! I've been looking forward to this build ever since that ABW set popped up on OLF (that was me who owned it for a second). I'll definitely try to make it out to Healdsburg to hear this guitar in person
 A wood combo I hope to build myself one day.The ivory bridge is gorgeous, and will look great on that top. I too like the Somogyi scoop design... but I hope you checked with him before copying it. And I'll second the suggestion for a maple neck, mahogany seems a bit out of place in the color scheme. Port Orford Cedar might look even better, as it has a sort of ivory-like sheen to it. But possibly a little too light weight to offset the blackwood body. Looking forward to more progress updates! 
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#32
11-08-2010, 06:40 PM
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Quote:
the bridge is not a straight up copy of Ervins work. The footprint is different. The scoops are different. There are no points on mine. His is larger than mine. His saddle is wider than mine. Mine is a bit taller than his. Basically I took my footprint and design of my original belly bridge and only added the scoops an idea I got from Ervin then modified to my liking, and have given him credit. Even though our scoops are different in size, shape, and cross section his design had an influence but I had/have no desire to outright copy any design. RE the neck.. I will not, for sure, use Port O cedar for the neck. I dislike it in general, and it's not what I look for in looks, durability, or mass. Still up in the air about the maple. Last edited by JohnM; 11-08-2010 at 10:03 PM.
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#33
11-08-2010, 09:51 PM
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Hi, John--
Your new bridge design is very beautiful. Would you mind elaborating as to the wider saddle slot for compensation/ intonation and practically how that is achieved? Is this a different tact than usual for you given the different bridge material? DAVE
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#34
11-08-2010, 10:02 PM
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Quote:
Sure and thanks for the nice words. If you think about an electric guitar it has a moveable saddle. Normally 6 individual pieces (like a strat for instance) or some have three moveable pieces that sometimes angled sometimes not, but still adjustable (like a tele for instance). The purpose of these saddle pieces is so that the length of the string can be changed so that it will intonate properly given the tension, gauge, action ect. On the steel string guitar we have fixed saddles for the most part (aside from the horrid Gibson saddles) To set the proper intonation we need to carve a "break point" or a point on the saddle that gives a definite end to the string length. While it is perfectly acceptable to use a more narrow saddle like a 3/32" (as found on Martins) or a 1/8" (as found on many many guitars) the wider the saddle is the more surface area you'll have to dial in that intonation. So the shift to a slightly wider saddle slot/saddle was for ease of dialing in intonation. Hope that makes sense.
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#35
11-09-2010, 08:43 PM
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When you say Black & White Eureka are you planning on finishing the top in black with the white ivory bridge? Like those Martin Reversed guitars.
__________________
Crazy guitar nut in search of the best sounding guitars built today and yesterday. High End Guitar Review Videos. www.youtube.com/user/rockinb23
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#36
11-09-2010, 08:46 PM
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Quote:
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#38
12-04-2010, 12:09 PM
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Thanks for reminding me!
I've got some updates. I've been finishing off some customers guitars so they take priority but hopefully I'll have some more free time to work on this too. I've made some progress, but not a bunch. Pics coming soon-ish.
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#39
12-04-2010, 07:31 PM
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really john, that bridge is pretty sweet, the possibilities for making ideas come alive with CNC is amazing, i really need one. well done on the design, i really like it
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#41
01-10-2011, 12:09 PM
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Ok so starting back in with the updates. I've been working on this one sparingly, as I've had other customers guitars to finish off. I've cleared out 4 in the past week so time to start chipping away on this guy again. Here are a few pictures of the top and back being glued, and the fingerboard with accent purling installed (but not sanded smooth)
I debated on cutting out the sap wood as I normally dislike that, but at the last minute I decide to leave it. Heck it is "white" colored more or less, and I think it will fit the theme.   
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#42
01-12-2011, 12:23 PM
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That Fretboard is sweet!! I always kind of regretted not getting African Blackwood on my MJ-55 for the bridge and fretboard. I don't think I realized it was an option back when I ordered it though.
Quote:
__________________
Crazy guitar nut in search of the best sounding guitars built today and yesterday. High End Guitar Review Videos. www.youtube.com/user/rockinb23
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#43
01-16-2011, 03:48 PM
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__________________
We can share the woman, we can share the wine... _____________________ Suggestions 1:1 Slackers 1:51-52 FSM
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#44
01-16-2011, 04:36 PM
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Quote:
So in short it's my design with some Somogyi influence. All this I mention in the 2nd post of the thread. Last edited by JohnM; 01-16-2011 at 04:55 PM.
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#45
01-21-2011, 01:46 AM
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Time for the rosette.
On these new models I wanted to do something special to kick them off right. I 'm going to be doing 5 models with similar rosettes. Some are going to feature inlay by some of the worlds best inlay artists and this one is going to feature scrimshaw. the process below shows my procedure for installing the rosette and the "medallion". The purfling is a tiny bit different than my normal purfling. It's .010 black fiber on both sides of a .040 lightly curly maple center. The pearl is Black Tahitian pearl. It's "zipflex" created by Kevin Ryan. Wonderful stuff. Main rings of rosette being cut  Medallion section drilled  Dry fitting, and mitering the purfling to fit the curves.  Pieces cut and ready to install  Main parts glued in. Inner ring still needs fitting and gluing  Rosette Sanded flush. Shellac spraying on top to help protect during building. 
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