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About GoatHerd

  • Birthday 11/21/1967

Profile Information

  • Gender
  • Location
    Rio de Janeiro
  • Guitar
    Shelter California, Ibanez Artcore, SuperStrat 12 string
  • Bass
    Cort Artisan Pro 4 - Homemade Headless Mini-V
  • Favorite Bands
    Yes, Rush, Marillion, Van Halen, ELP, James, Travis,...
  • Rocksmith
    Windows (Steam)

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  1. I have now finished and published the last missing track for Quadrophenia. These are the tracks I have done and made available since September/2021: Quadrophenia Cut My Hair I'm One The Dirty Jobs Is It In My Head? I've Had Enough (with JamesPrestonUK's kind help) Drowned Bell Boy Dr. Jimmy The Rock. A true labor of love. If anyone has any suggestions, please let me know.
  2. Very nice job with fret dressing. Those ends are really smooth and round. The drilling of the headstock is a real pain. Tear-out is really difficult to evoid, no matter how much care you take. Everything is looking really nice!
  3. To remove superglued frets, you just need to use superglue remover. It will dissolve cyanoacrylate enough for you to pull out the frets w/out too much damage to the fretboard. But if you're using stainless frets you probably will never have to do it, as they're virtually indistructable.
  4. Very nice. It all worked out in the end. I admire your patience to back track and do it right. I've always used super glue to stabilize the frets, and have always been tempted by wood glue. Did you give it enough time to cure? Titebond gets really hard when dry. I've heard of people using epoxi resin too... The important thing is that that fretboard is looking really great. Love the grain on the wood. Well done!!!
  5. I'm slowly gearing up to embark on my 8 stringer bass... After seeing your amazing body shape, I might have to be brave and go for a custom free-form body as well. The inlays look really good. The hand-drawn aspect works really well. 100% custom. The more custom-builders move away from the "factory-built" aesthetic, the better.
  6. Good one! I've never done a proper set neck, but I'll have to go there some time... Should give you great sustain.
  7. I agree with your point on the body, though as I wanted to do the exact shape for a Les Paul, I ended up taking this route. After I saw Ben Crowe freehanding a Les Paul body top, which got me thinking too...
  8. Absolutely love your body shape - and I'm quite traditional, body shape-wise. Looks really, really good. The neck joint looks very interesting. Presumably you're going with threaded inserts... If so, check your screw length before final assembly. Too long screws will leave a gap between neck & head. Love your bold inlays. Looks custom and fun, and with a little care should look nice too. One tip, if you want nice straight lines and edges for your inlays, it's to pre-cut the shape first with a sharp blade. Don't need to go deep... And then you use the dremel and mini-router. But what you've done looks very neat, so good job! Looking really good! Can't wait to see the next steps!
  9. So, as promised, here's my routing table and sled. A flat surface, with 2 sides that are exactly flat & the same height. The sled itself is just a couple of aluminium rails, that are rigid enough to do the job. Currently I just tape the little hand router I use into the sled, and that's it! Just as an example, I used it to do the archtop on the Les Paul. It's really simple, but works really well. I use it to adjust the thickness of pieces of wood, like fretboards as well. It's quite tedious work, and requires many passes, but it can be very precise, specially if used with care.
  10. For the binding channel, I use an attachment on my router, similar to these photos. It looks/feels kind of wonky, but works very well. Then I can use a normal router bit. Of course I set it up and practice on some wood scraps first. Then I pray forgiveness for my sins and go for it! For the archtop on the Les Paul it was kind of different, because the arch didn't provide a flat surface for the router to stand on. I ended up making myself a routing table (very, very simple), that I used for that, but also for precisely thicknessing fretboards and such. If you want to send you some pics, let me now!
  11. For the neck, I'll let you into a secret. I use a stripper disc attachment on a grinder. I've made templates out of cardboard out of the profiles of my son's favourite guitars. I slim the neck down at the 1st, 7th and 12th fret, still leaving a bit of meat on and then I use the grinder with the stripper to rough shape it. The disc allows for fast work, but isn't overly aggressive, to the point that you could go too fast. After that I use some very heavy grit metal sandpaper (50 or 60) glued to a nice, large, flat piece of wood, to bring the thickness down. Then I do what you did. I use a pencil to color over the whole and eliminate any dips. And the i fine sand it. I'm never scared of the neck being to thin because I use Marfim for light colored necks and Louro-preto for dark ones. They are very dense woods, and can easily hold the string tension. Marfim is 945 kg/m³ and Louro Preto is 845 kg/m³ as opposed to hard maple, that is 705 kg/m³, or mahogony that is 590 kg/m³...
  12. Again, thanks for the kind words. I love that through composite neck. Did you cut those pieces yourself. That´s a part i am rather scared of - you need incredible straight cutlines there - what saw did you use? >So, I ordered the pieces from a good sawmill, but not any different from the pieces you started with. I ordered two blocks of Marfim that were 100x7x3.2cm, 1 piece that was 100x7x0.9 and 2 pieces of Roxinho that were also 100x7x0.9. In hindsight I should have gone a little bigger, just because I had zero wiggle-room for mistakes. The black stripes are Roxinho as well, but they have a hydro-treatment (TW), which makes them go black. Those were just bass fingerboards. The trick is that I've only got a small jigsaw. So rough cutting the glued part on a band-saw wasn't an option. I ended up using a print of the full head/neck/body profile, which I drew precisely on the computer and routed out on one of the thinner pieces of the neck/body. That became my template. I then glued the parts on and then routed them. It was quite finicky, also because I pre-cut the cavities for the wires. I suppose I could have drilled them after, but I could see myself getting that wrong, specially with how hard the Marfim is. And your bindings... always a breathtaker. I think i myself would have gone with the blue Sig section only on the head and mybe the red square - but you know i really like to have a lot of natural wood to be shown, your inlaywork - insane!!!!! > The binding is actually easier than it looks. I would suggest you give it a try. The best stuff to use is cellulose binding, because you can glue it using acetone. The scary bit is you have to have your wood mostly finished, and then cut the channel (and try not to have a heart attack), and lay in the binding. Tape it down with that stronger, blue masking-tape, and squirt acetone over it with a seringe. After 1h, it'll be really well glued. Insane. The acetone is quite agressive, so you need to do this before any kind of finish. Then you level it all with a scraper (really fun), sand and finish. Once the finish is done, the binding will not look so nice, but you just lightly scrape just the binding and it's done! The head design is my son's idea. The guitar is his (I only play the Bass), and I was really happy that he got involved like that. He did some planing, sanding and banged in some frets, but I'm quite scared of him loosing a finger. Maybe when he's older I'll let him do more...
  13. Here's another closeup of the head inlay, with the turquoise and red Howlite, and the copper inlay:
  14. Now due to how much I went out on a limb on this build I didn't document major parts of it. The whole thing was a bit of a crazy journey, with massive mood swings, and me feeling I'd bitten off more than I could chew in the early stages. But it all worked great in the and, so that I can now share the finish product:
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