daddymack

great match with the rosette! Where are you off?

who knows? claims are claims...

Funny, after doing more looking, the Violetta was one I was going to suggest...until I saw the Mr. Black post....the Red Witch Violetta is definitely a better choice if you were looking for analog-style delay, compared to the Mr. Black. Another good one is the Walrus Fundamental, which does 1 full second delay.... btw, 1 full second isn't too much, but it depends on what you are doing with that second....I've typically found 500ms to provide a nice soft, deep, 'sensory' effect, which was why I asked. Enjoy your new toy!

[Rough translation from Dutch]Hello, I have a Yamaha Pacifica made in Taiwan in 1995. What type is this? [Rough translation to Dutch] Ruwe vertaling uit het Nederlands] zonder een foto van de gitaar kunnen we je niets vertellen. Er zijn een aantal modellen uit die tijd...112, 300, 521, 621... Without a picture of the guitar there is nothing we could tell you. There are a number of models from that era...112, 300, 521, 621...all 'Pacificas'

I thought you were looking for more analog...which Mr. Black is not...but, your gear, go for it.

The Boss RV3 is a great pedal, but to my knowledge, they have not released a 'mini' version, which is one of his criteria. The reason I asked if he really needed a whole second of delay was that getting a long delay in a mini case seems challenging...the Xvive Echoman is a good analog unit, but only goes to 600ms. The Mooer REECHO gets up to 780...MXR Carbon Copy only goes up to 600...I can't think of any that clear that hurdle in that config...but there could be.

do you really need a full second of delay? I've used this off and on for my 'side gig' pedal board, I use it for slapback....but it will go to 625 milliseconds. https://pedalauthority.com/2019/06/28/review-donner-yellow-fall-delay/

You learned...that's what it is all about. You will learn even more from doing this one. And in back of all the worry, and the hard work...is the joy of discovery and achievement. No one woke up one morning and said 'Gee, I think I will make a guitar!', and does it, and succeeds by that evening. Not even Harmony Central Moderators....😉

I have done the iron+ wet t-shirt [what I used, what can I say] once on a re-fin job. I have used heat guns for repairs a few times. A heating blanket that goes to 300F? Sell that to 'eskimos'?😉 Okay, so, where is the fretboard hiding?

Not certain, but this may help: http://www.matsumoku.org/cm_models/serial-no-dating-info/ This is a semi-hollowbody dual cutaway bolt-neck like an ES335-style, correct? Do you know if it was made in Korea? [my brief research indicates Matsumoku stopped making them in Japan around 1986/87, although those were TA30, and the TA40 was the subsequent Korean version]. So it could be a 1987...but they were still in production in 1997, so.

did you try allparts, analog classic, stewmac, reverb, amplified parts, e-Bay?

'ad is no longer available'. Next time post a picture, please, rather than an ad link.

Heat gun?

Tape? This is the digital age!

Git'er dun! Sounds like you are motivated! Carlsbad is very nice this time of year [well, anywhere is pretty much nicer that Joisey, right?]....if you had gone along, I would have driven down for a meet'n'greet!

If you mean the bumpers on the underside of the treadle, super glue will work fine.

well...thank you! Pretty much what I envisoned. I know, it isn't my project, but I really think that will help tie it all back together. Not as weird as it sounded when I mentioned it....? Paint it with a few coats of enamel to minimize the scratching....or use the same ink and clear coat the heck out of it...

well, I am still 'gigging', but not regularly like I used to [2-3x/wk], so I did let go of one amp about a year and a half a go....that was a little 20W 1x12 Crate V20[?] Still in the collection: An Epiphone 'Galaxie 10' 10W 1x10 tube amp, nice cleans, mics up well, small light, portable, can't hang with a drummer. My 'living room' amp... Two blonde Blues Juniors [last year of USA build, first year of Mexico build], both modded [standby switch, speaker swap, solid state pre-amp tubes]. My workhorse amps for jam hosting and big outdoor stage work [with an a+b/Y pedal] A Vox NightTrain 15W 1x12 tube amp. Gets great classic Vox 'heat', digital reverb is passable. A BlackStar HT-20 Studio, 20W 1x12, covers a wide swath of tones from Fender to Marshall quite well, my 'side gig' go-to for that reason. An Epiphone Valve Junior 5W 1x8 [this amp has been sitting on the bench now for four years waiting some additional mods I just keep putting off...I don't really need the amp...because I also have A Fender 5W 1x6 Champion 600, upgraded speaker and tubes, can go from deliciously sparkly to gutbucket nasty by turning up the guitar volume. This is my 'test amp' for new guitars...if I don't like how it sounds through the '600', it doesn't stay. A late 40s/early 50s Magnatone lap steel amp...goes with my late 40s/early 50s Magnatone lap steel....both MOTS bakelite. A Harmony 'Pro 3000' solid state 1x10. I 'inherited' this after an old friend passed away. I replaced the speaker for him a decade before he passed....I have tried to trade it in or sell it to no avail...no one seems to want it. I have never played with it...probably only plugged into it once...to test it. A Quilter Aviator 200W solid state head..picked up used, and I actually like it! Only gigged once...so far. A blonde Fender Super Champ XD, 15W 1x10, which has failed yet again, sitting on the bench waiting analysis....meh, fun amp, weak design, 'A' channel is very BF Princeton-ish. A 1964 Fender BF Vibrolux Reverb 35W, 2x10... owned since 1972. The holy grail amp...semi-retired...big stage and studio work only. there are some old PA power amps and a little Ampeg bass practice amp and pairs of Alto powered speakers [8", 10" and 15"] buried in the 'gear closet'...I think that covers it

ah...I see... round head screws...at least they are not fillisters No way to grind them down without losing the head cut? Okay, I get the premise...carry on. I, too, have made pick guards for electrics out of all sorts of stuff, including wood paneling, plexiglas, aluminum [treated with 'gold alodyne'], teflon, phenolic, and ceramic tile [proved too heavy, edges were too sharp...and difficult to work with, but it was visually effective]...and am intrigued by the license plate idea...so I will wait and see. I still think bringing/referencing your unique headstock shape to the pickguard would be an interesting artistic touch....but this is your project, and I'm just kibbitzing

That was how I felt about my Marshall half-stack....I was living in a second floor apartment...that cabinet barely fit into my car's back seat, with the casters off.

hmmmm...good idea.... As Gardo said, you are going to be far more critical of every minor deviation, because you know what you envisioned. I totally get that, but sometimes you just gotta let go, be flexible, and accept that perfection is an ideal rarely achieved by humans and then find something tot blame for the failure! I don't know that you need those plastic under-plates for the p-ups, but that is your call. Oh, and maybe your pickguard shape should be based on the headstock design...just a thought....

Okay, I hope that de-chips your potato, or however you want to explain it.... The radius dish is going to save you a lot of agony in the future! I'd just like to tell you that observing your builds has been educational. I have learned that I will not build my own acoustic. There is great value in that knowledge, as I am often tempted to try it, but now, armed with the practical information you have imparted here, I am thoroughly convinced I would not have the patience. I will stick to instrument repairs. And things like landscaping ... If you should ever decide to sell any of your works, I might be interested, just to be able to say I watched you do it on line....

Interesting...I own a HT-20, and although it is not my 'goto' amp, I enjoy its versatility, and so I often used it for side gigs. Screw the naysayers. It does many things well, and a few things nigh on perfect. I also owned a Crate blonde tube amp [V20?] that I kept in a rehearsal location. To be fair, it didn't do anything my Blues Juniors or Vox Nightrain [or HT20] couldn't do, but I got it cheap enough, and wound up trading it an a bunch of pedals I'd won in a contest and frankly most of which were useless [for me anyway] for a Martin 12 string. So I don't regret letting it go, but it was a good serviceable and reliable amp that never let me down. I do regret letting go of my 65 Princeton, but that was in the dawning age of Marshalls being de rigeur for rock bands, and that poor little guy could not keep up when the volumes got cranked [and they always did]. I actually don't regret selling my Marshall SL100 back in 1981...the hearing loss will never come back, and the sound of a small cranked amp, mic'ed, gets to to the same general space...and of course, now the HT20 gets pretty darned 'Marshall-y', without the furniture moving around the room. And I still have my stock '64 Vibrolux Reverb [purchased used in 1972, worth about 20x what I paid back then!]...few amps can match it for tone, versatility and punch in a 2x10 combo. I don't use it often, strictly for studio work, or big stages [which are few and far between of late].

Looks like you got it about right now. Are you replacing the two lower braces, or the two outermost to accommodate the glue block arc??

You are welcome, bp! All in the job description....