eldegas.com

As far as the coil tap goes I would keep it. When I re - did my LP I added a coil tap but didn't have a mini toggle so I added a push/pull pot to split the coil without drilling any holes. I thought what the heck , if I never used it at least it is there. Believe it or not jamming with friends I end up using it a lot. Realy nice tones from a split HB on these guitars. My 2 cents anyways....Pictures , pictures!!!!

at this point the plan is to keep the coil tap and the original neck PUP (Dimarzio PAF?). As for the pictures? I actually found time to work on the guitar tonight and well ... while I was at it I took some shots. Ask and you shall receive. Bear in mind this is very much a work in progress and because I moved recently I can't find my camera so these pictures were taken using my phone, so low res. The wood looks great but there are four pieces fused together. This was originally a goldtop but when the project is done It will have a red wood dye or stain with chrome and black hardware. Anyone know what the mark where the neck sits means?









Thanks for your interest in my project.

Carry on! Looks like a great project.

The mark is probably just a number for them to keep track of the batch of bodies being made in that particular day or run. (in my opinion, and a total guess)

Well, it looks like you're well under way! That looks like some seriously good mahogany there too!

Which raises a question in my mind.
Most higher end LP's would have had a maple cap (veneer) on the top which contributed significantly to the upper tonal range and added sustain. Was there one on yours? If so it appears as though you've sanded it away.

I'm also a tad concerned that you might not be maintaining the contours of the top...it likely wasn't flat like the back but slightly arched. If you are not very careful with the sander you can destroy that arch. I know it's tedious, but in my opinion, that should be done by hand.

As for the markings in the neck pocket, I have several Japanese guitars made by the famous Matsumoku company. At least one of mine and others that I know of have "33" hand written in grease pencil inside the pickup cavity.
See for yourself here: http://www.eldegas.com/forum/viewtopic. ... rt=15#p809

It's a tenuous link I know but I'm betting that your guitar was also made by Matsumoku. What it means however, is pure guesswork.
My current theory is that it might have something to do with the neck construction type to be used; bolt-on versus set-neck, the set neck has a longish tendon which protrudes into the body and is glued and screwed down roughly in the same area where the pickup cavity is. This may be simply a reminder to the assembler to use the correct neck!

Or possibly, it could be a note about the pre-finish (sealer) or final finish to be used. Both of our guitars are soft open grained wood which need a sealer in advance of the stain application to prevent excessive "bleeding". Might also be a reference to the colour since the original factory finish on mine was a butterscotch-y flavour. Was the original colour of your back and sides a light brownish shade or dark? A gold top likely may have had that colour as an under coat?

Barry wrote:Which raises a question in my mind.
Most higher end LP's would have had a maple cap (veneer) on the top which contributed significantly to the upper tonal range and added sustain. Was there one on yours? If so it appears as though you've sanded it away.

Looks like in this case they built it to a Les Paul Custom spec - which are all mahogany without the maple cap.

If this guitar has binding on the back of the body as well as the top then it would appear that they are indeed copping a Custom - otherwise they just built a Standard Goldtop without a maple cap (which is not true to the Lep Paul Standard Goldtop specs, but it's not the end of the world )

Your normal LP maple cap is roughly up to 1/2" at its thickest point, so it would take a whole lot of sanding to take that away
I doubt there would be a veneer added to a solid-finish guitar -wasted effort.

Charles wrote:I doubt there would be a veneer added to a solid-finish guitar -wasted effort.

Yeah, you're likely right Charles.
Sorry to get y'all excited, but sometimes better safe than sorry, eh?

I like all mahogany guitars - I tend to like darker tone woods.

Barry wrote:Most higher end LP's would have had a maple cap (veneer) on the top which contributed significantly to the upper tonal range and added sustain. Was there one on yours? If so it appears as though you've sanded it away.

I'm also a tad concerned that you might not be maintaining the contours of the top...it likely wasn't flat like the back but slightly arched. If you are not very careful with the sander you can destroy that arch. I know it's tedious, but in my opinion, that should be done by hand.

There doesn't appear to be a veneer, which makes sense, this was a goldtop. I have been hand sanding all the way, would not use a power sander. The contours still look righ to me. I used a furniture stripper with a wooden scraper to remove the goldtop finish, luckily despite the harshness of the chemical it doesn't appear to have affected the binding. Speaking of binding, Charles, there is no binding around the back. Barry, Thanks for sharing your thoughts on the 33 marking, interesting stuff. The back and sides were some shade of brown, not sure what I am going to do with that. I am having so much fun doing this and thanks to you guys for keeping me on track.

aallen wrote:...There doesn't appear to be a veneer, which makes sense, this was a goldtop.

Whew, good!

I have been hand sanding all the way, would not use a power sander.

Double good!!

Barry, Thanks for sharing your thoughts on the 33 marking, interesting stuff.

You're welcome. It was an insight and semi-confirmation for me too!

I had an epiphany today regarding the coil tap switch and what to do with it. I might add a piezo pick-up, I saw some demo videos of them on youtube today. It is amazing how much it can make an electric guitar sound like an accoustic. I would use the switch to swith from regular les paul style wiring to the piezo. What do you think?

Piezos are pretty great - I really liked the one I had in my Parker. I should really add one to one of my guitars - they make it very versatile especially if you are able to have a blend pot to mix the two sounds together or go completely one way or the other.

Piezo's can add an interesting dimension to the sound, for sure. I don't know what it would sound like on an LP design though.
Just where do you plan on installing it

Barry wrote:Piezo's can add an interesting dimension to the sound, for sure. I don't know what it would sound like on an LP design though.
Just where do you plan on installing it

My Parker was a sort-of LP style (dual humbucker) but had a trem - the trem was the key as their piezo was housed withim/under that, I believe.

Also be aware that you may need to make room for a battery (route a cavity?) if it's an active piezo system.

Some late night reading:
http://acapella.harmony-central.com/sho ... ?t=1747431
Talks about a LOT of routing/drilling

http://www.mylespaul.com/forums/custom- ... -paul.html
Mentions a Fishman Power Bridge as a drop-in replacement piezo bridge

I've just barely skimmed the first posts of each, so do not take these reading suggestions as defacto tomes of LP Piezo action.....

charles wrote:My Parker was a sort-of LP style (dual humbucker) but had a trem - the trem was the key as their piezo was housed withim/under that, I believe.
Also be aware that you may need to make room for a battery (route a cavity?) if it's an active piezo system.

Yeah, that's kinda where I was going with it. Most I'm aware of have been installed under the bridge because you need the compression caused by the string's vibration to create the electrical signal (it ain't magnetic!). Ovations have their's in the bridge too, under the saddle. There may be other ways to use 'em but this is only one I know of.
And yes, you need a power source too. Can't really see it working too easily on an LP.