BUILDING ELECTRIC GUITARS MARTIN KOCH PDF

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by Martin Koch Pink Floyd - Guitar Tab Anthology (Guitar Songbook).pdf Building Electric Guitars: How to Make Solid-Body, Hollow-Body and Semi- Acoustic. desire to build my own electric guitar. At that time I was a regular reader of the German music The Science of Electric Guitars and Guitar Electronics. Building Electric Guitars. How to make solid-body, hollow-body and semi- acoustic electric guitars and bass guitars. MARTIN KOCH. eBook Edition.


Building Electric Guitars Martin Koch Pdf

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Building Electric Guitars: How to Make Solid-Body, Hollow-Body and Semi- Acoustic Electric Guitars and Bass Guitars [Martin Koch] on bestthing.info *FREE* . PDF | Mark French and others published Assembling an Electric Guitar. It's easy to get enthused about making a guitar and want to add custom touches. Acoustic Electric Guitars and Bass Guitars by Martin Koch, Koch Verlag, martin koch - building electric guitars pdf. Download martin koch - building electric guitars pdf - touchstone 1 workbook download - These planters can be used.

The Carvin guitar is really nice. They make a bass kit too. Tim Mahoney , PM Don't just throw scraps of wood together to build what you think will be a guitar.

Look into some of the books that are mentioned in this post. Very good books to get you started.

Gibson also has forums with all kinds of info. The most important info I can give is to talk to good guitar players.

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They are interested in how the guitar sounds. If it doesn't sound good it doesn't matter how good it looks. Learn what makes a guitar sound good and the rest is easy.

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The woodworking part of building a guitar is the easiest in my humble opinion. Gettting the neck angle to the body or headstock angle to the neck or fretting the fretboard takes some serious thinking and preparation.

Also be prepared to measure in metric as it is very precise but makes it easier to get it correct. Lastly, give it a try and keep trying until you get the reward of a huge smile on the face of a guitar player. Well worth it. I use a digital vernier caliper all the time, measuring sizes to an accuracy of 0. I learned both the metric and imperial systems I'm from England and went through the big transition in my teen years , but I lean much more to the imperial system and find it easier to envisage sizes of things in inches rather than mm or cm.

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I lost my small 6'' imperial for a few weeks and resorted to the metric until I got around to moving my work bench to find the imperial. That is how I started with the metric and learned to like it.

I mostly use the imperial for my other furniture projects. Bryan Morgan , PM I've built a few. I basically just copy whatever Mark Crenshaw does.

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Great group of chaps. I've built two teles now.

I love both guitars and am very happy with both. Lots of ways to skin this cat, but I'll give you my formula for success. I bought a template that I knew was accurate. Thus it would be best to leave any questionable frets until their resolution is certain i. Next, add the nut and the bridge. This completes the string geometry, based on your initial decisions of scale, number of strings, nut width and bridge spacing.

Note that the bridge library entries have both appearance and mounting elements; using the mounting element is suggested. It should be fairly easy to make a copy of construction view as it nears completion, delete internal details and add external details to the appearance view, and then maintain both drawings to completion.

But wait, what if your bridge or any part is not in the library? In this case, you will have to draw your own part, to any degree of detail you like as long as it is adequate for your purposes. It might be useful to use a pre-drawn element or drawing of a similar part as a starting point where practical.

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One trick is to have lines perpendicular to the centerline to key points internally or along the edge. Measure these lines for spacing and length and create them in the CAD drawing.

Now you can add the body and headstock. These will almost certainly not be exactly what you want, so pick something close and modify it as you wish. Finally, draw in the fingerboard. There is not a library entry for this; basically it is two lines connecting the edge of the nut to the last extra fret.

But in order to do this, you need to put in the strings, since there needs to be a bit of extra fingerboard outside the outer strings.

There is a library entry with all the string diameters; get the ones you will use and move each to the correct point on the bridge.

Then rotate each one until the far end goes through its slot in the nut. Now go to the last extra fret and draw a short vertical line where the outside edge of the biggest leftmost string intersects the last fret. Then draw an offset line to the outside of this line, at the distance you want your fingerboard to extend past the strings. About a quarter of an inch is a suggested distance. Now go to the centerline of the drawing and center a circle at the intersection of the centerline and the last fret, with a radius out to that outside line you just drew.

It should be a simple matter now to draw a line from each edge of the nut to the intersection of the circle and last fret. Note that the preceding directions assume you are designing your own neck. If you are using a pre-made neck, you will need to use its actual measurements when generating the drawing.

Placing the strings is optional in this case; just draw the circle centered on the intersection of the centerline and the last fret, with a diameter of the measured width at the end of the fingerboard. Next, place the pickup element s , using the location point s from a library body shape as a starting point and adjusting if you know what the effects of non-standard locations will be.

Again, use the cavity diagram rather than the actual pickup drawing, unless you are doing an appearance drawing. Usually a circle of the correct size is the easiest element to use unless your control knobs are an unusual shape. Once you have the controls laid out, you can see where the control cavity must go. It is a good idea to make a duplicate drawing and draw in the electronics using circles and rectangles to verify the cavity is big enough since the electronics are usually bigger than then control knobs.

If a standard shaped cavity will work, then use one out of the library. Generally the only other cavity to consider is the battery compartment, which is generally in the back. Placement is often not critical, as long as it does not interfere with any other cavity or body element. It is a good idea to save your work in progress to a new file if you are going to make drastic modifications to it.

If your program supports 3D drawings, it can have some benefit.

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In particular, you can view the drawing from every angle, and it includes details not visible in a flat 2D drawing. It is critical if you are ever going to try controlling any computerized machines.

But it adds considerably to the work involved in entering and modifying the drawings, so it is likely to not be worth the effort for most people. Making a separate drawing of another critical view angle may be easier than dealing with 3D.

If so, and this appeals to you, by all means try it out.

If the program does not provide this option, or it is too much trouble to do accurately, then it might be easier to use manual art techniques on the paper prototype to be eventually produced from the computer drawing.

Of course, completing a drawing on the computer is nice, but in order to make use of that drawing, you pretty much have to print it out. The way to do this will be under the control of your drafting software. If the purpose of the printout is to verify the appearance or to display to other people, then dimensions will be distracting and of little use, so usually leaving them off is suggested.I built my own bodies, but bought the necks from Warmoth.

I believe it, if you use standard library elements with minimal modifications.

It has a normal fretted fingerboard with six nylon strings , a fretless fingerboard with five nylon strings, and twelve diagonal resonating steel strings. I basically just copy whatever Mark Crenshaw does. If you know exactly how many frets you will have, you can delete the extra ones from the element, along with any unneeded dimensions and labels.

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Also read my other posts. I'm keen on embroidery. I do relish sharing PDF docs suddenly .
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