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About GuitarSlim101

  • Birthday 03/09/1989


  • Location
    (Joe)--somewhere near the Twin Cities

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  1. Thanks! The best part of working with this wood is that it still smelled a bit like pickles. It was delightful. As for that chunk of Sequoia, that could make a lovely guitar.
  2. Thanks, everyone. The bracing on an archtop is primarily there to help shape the voice of the instrument. Traditionally archtops are built with parallel braces, which give the instrument a louder, brighter tone without much sustain. I have a 1940 Harmony archtop that was built with parallel braces, and also has a thinner top that was heat pressed into an arch rather than carved, which was often the case with inexpensive archtops. I was looking for a different tone with this guitar, and to help prevent the smaller body from making it a little too bright and wimpy sounding, I went with x braces, which lend a bit more warmth and sustain, but you lose some volume. It is still a surprising loud little guitar, though. Not quite a banjo killer, but it cuts nicely.
  3. It is pretty soft, but it's a bit more dimensionally stable than Spruce and Cedar, and this is very well seasoned wood. It does scratch and dent about as easily as Cedar, and I put a very thin French polish on for the finish, so surface damage is a bit of a concern. Structurally speaking, it's pretty solid. I kind of overbuilt it and made oversized neck and tail blocks, and added quite a few side braces to help stabilize things a bit. Redwood is becoming fairly common for soundboards, but I haven't seen anyone else use it for backs and sides, so this is a bit of an experiment. Since it is soft, it resonates similarly to a well made classical guitar, and you can dampen the tone significantly if you allow a large section of the back to contact your body, which is kind of cool. It's like the acoustic equivalent of rolling your volume knob down a notch or two, then you can pull it away and get full volume for leads and louder bits.
  4. I tend to use my looper (DL-4) is a fashion similar to Bill Frisell or Nels Cline's looping, where I'll just grab a phrase, or portion of a phrase, maybe tweak the speed and/or throw it in reverse, and just let it linger in the background under whatever else I'm playing, layering in little bits here and there. Or I'll channel Fripp and layer as much as I can until it just becomes a wash of fuzzy goodness.
  5. Thanks, Phil! Yeah, feel free to link to it. The scale length is 25.5 inches, and the body is a similar footprint to a 000 Martin. It's a little less than 14 inches across the lower bout and about 19.5 inches long, so it's a bit of an odd duck.
  6. So, this isn't an effect in the pedal sense, but it's something different that can be used as an effect for those times when a standard acoustic tone isn't desired, so hopefully it's appropriate enough. Plus, this is always where I've been comfortable on HC, so I'm putting it here for the handful of people who are still around. Long story short, I've been building a small bodied archtop acoustic between customer repairs for the last 14 months, and it's finished. I got the bug to build a small archtop because I'm a big fan of the sound David Rawlings gets out of his little Epiphone Olympic and my old Harmony archtop needs quite a bit of work. My Dad got his hands on some reclaimed old growth Redwood slabs that were used as brine vats at the Gedney pickle factory, and he was willing to part with some, so for the sake of science and my own curiosity, the top, back, and sides of the body are solid Redwood. The top and back are hand carved and hand graduated, the sides were bent using a $20 curling iron from CVS, braces are some well seasoned Engelmann spruce from a rejected half of a cello top, and the neck is a nice chunk of Walnut with an Indian Rosewood fretboard. Here are a few pictures: And a quick and dirty little tune I recorded earlier today. It's a bit noisy as I recorded it with an old Astatic mic straight in to the sound card on an older macbook pro, but my decent recording gear is in storage at the moment.
  7. Looks nice, Phil. Very clean work. I dig the paint job.
  8. I bought the chassis and transformers here http://www.turretboards.com/guitar_amplifier_parts_supro_model24_style.html, used their layout and sourced the other bits from various electronics suppliers. It's a cool circuit, uses 6973 power amp tubes, which behave a lot like 6V6s with a bit less compression, and they're pretty near impossible to blow up. They were used in jukebox amps because they could handle being run all day, every day for quite a while. And if I do put the vibe and trem in the same box, I'll definitely make a thread.
  9. I have two amps with great bias-varying tremolo, an old Univox U-305R and a homemade Supro 1624T clone. Delightful throbbing goodness. When I'm using my 5E3, I use a Tuna Melt. That little yellow devil is a fantastic pedal, but my sinewave/squarewave switch is starting to crap out on me. I want to rehouse it and throw my Cool Cat vibe in the same box. I love mixing vibe and trem.
  10. I still pop in once or twice a week to see if there's anything going on, but this is the first time I've logged in in a while. I've been spending a good bit of time on ILF, not posting much, but hanging around. Been building a few guitars and business has been good at my shop, so I mostly just lurk on forums to stay in the loop on whatever new gear is coming out. I'm satisfied with my current assortment of pedlols, so I haven't been buying much. Also I'm saving up for our wedding, so my extra cash goes to buying tools and wood instead of gear. Also, "ah, the old shampoo-in-the-{censored} ruse"
  11. I'm glad to hear it's closer to "Brothers" than "El Camino". I haven't heard anything other than "Fever" yet, which didn't get me too excited, but I'll have to give the album a listen. I do loves me some octave fuzz riffs.
  12. If this makes a guitar sound like a Farfisa, I'm in.
  13. I love my Deluxe Memory Man. It's fantastically wiggly, provides nice washes of sound, and produces the best Marc Ribot esque slap back I've been able to coax out of any pedal. The calibration on mine is off just enough to make the repeats a little grittier than other memory men I've played with, and I dig that quite a bit.
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