Thursday, April 15, 2021
Iceman Gets a Bigsby | Part Three
Iceman Gets a Bigsby | Part One
Sunday, April 04, 2021
ESP Floyd Rose to Hardtail Conversion | Part Five
This post is the fifth and last of a series regarding the recently-concluded Floyd Rose to Hardtail [fixed bridge] conversion on a used ESP GrassRoots G-HR-49 solidbody. After the body had been refinished, it was set aside on March 6 to allow the finish to cure.
Then, on March 21, I resumed work by reinstalling the electronics, neck, hardware; and what-have-you. Took me the better part of two days to get the guitar ready for testing, and when I finally did put it through its paces; a feeling of joy mixed with relief coursed through my veins. I was indeed thankful to have satisfied the owner’s five requests:
One, remove the entire Floyd Rose assembly, including the
locking nut, springs and claws.
Two, fill the trem and spring cavities completely with
suitable wood to create a true solid body.
Three, install a strings-through-body hardtail bridge.
Four, install a Strat-style nut, remove the paint on the
back of the neck and refinish it natural.
Five, make the guitar presentable and fully-functional.
Thus said, in this post, we'll just sit back and look at some pics. I’ve also put together a YouTube video to complement this post. The video highlights both clean and overdriven sounds of the G-HR-49; plugged into my trusty Fender Champion 40 amp. Do check it out. Muchas gracias :)
Sunday, March 21, 2021
ESP Floyd Rose to Hardtail Conversion | Part Four
This post is the fourth of five regarding an ongoing Floyd Rose to Hardtail [fixed bridge] conversion on a used ESP GrassRoots G-HR-49 solidbody. In this post, we'll talk about what needed to be done; as per the owner’s instructions: “install a strings-through-body hardtail bridge” and “make the guitar presentable and fully-functional.”
Before installing the hardtail bridge, the pickups and neck had to be temporarily reattached to the body to ensure proper string-fretboard and string-pickup polepiece alignment. Masking tape was also applied to the front of the guitar, accurate measurements taken; and lines drawn.
These measurements and lines enabled me to determine the correct position for the bridge. Two “dummy” strings (low and high E) were also used to determine side-to-side and polepiece alignment.
Once I was satisfied with the position of the bridge, holes were marked and drilled for the five bridge mounting screws. The bridge was then installed in preparation for the next step, drilling the string-through holes.
After carefully marking the positions of the six string-through holes, the bridge was removed to make way for my rotary tool and Dremel Plunge Router Attachment. I would have loved to have used my drill press, but its throat was too narrow to accommodate a guitar body. The Dremel attachment, albeit being a poor cousin of a proper drill press; is still capable of helping one to drill perpendicular holes.
The six string-through holes were then drilled into the top of the guitar. The holes for the high and low E strings were drilled all the way through to the bottom, while the remaining four were only drilled halfway.
The body was then flipped, and the bridge aligned with the two E string holes. In this way, it was possible to mark the position of the holes for the B, G, D and A strings on the bottom of the body.
Subsequently, these four holes were drilled from the bottom until they “met” the corresponding holes previously drilled from the top. Then, to accommodate the string ferrules that would be inserted later, a larger sized drill bit was used to countersink all six holes.
Test-fitting the ferrules went okay, and they were removed for safekeeping. They’d only be reinstalled after the body had been refinished. Meanwhile, a hole was also drilled into the top from underneath where the bridge would be, right into the bridge pickup cavity. This hole would allow me to run a ground wire from the bridge plate into the control cavity.
Now that all the drilling had been done, the whole body was given a final inspection. Any low spots were filled with Elmer’s Wood Filler and sanded level, while gaps were sealed with a mixture of wood dust and super glue. Next, after a light scuffing with 0000 steel wool, the whole body was wiped down with naphtha.
And of course, in order to “make the guitar presentable,” I’d have to refinish the body. Samurai 29/109A Flat Black was my choice of color coat, and for top coat; Samurai F1 Flat Clear. After the final coat of clear had been applied on March 6th, the body was set aside to give the finish adequate time to cure. Thanks for dropping by. Now, since you're already here; do check out this YouTube video I uploaded to complement this post. Muchas gracias :)
ESP Floyd Rose to Hardtail Conversion | Part Three
This post is the third of five regarding an ongoing Floyd Rose to Hardtail [fixed bridge] conversion on a used ESP GrassRoots G-HR-49 solidbody. In this post, we'll talk about what needed to be done; as per the owner’s instructions: “fill the trem and spring cavities completely with suitable wood to create a true solid body.”
The first step was to remove the electronics and hardware from the body. This included the two trem pivot post bushings. Following this, the bottoms of both body cavities (trem and spring) were routed flat to a suitable depth. At the same time, their side walls were chiseled and routed to closely fit the wooden blocks that would be inserted later.
The spring cavity was dealt with first. To this end, slabs of pine and chengal were glued together to form a “sandwich” sufficiently thick to slightly overfill this cavity. The “sandwich” was then glued and clamped into place; and set aside for a few days.
Subsequently, a suitably-sized “center block” of pine was fashioned and glued in to fill the void vacated by the trem block. Had this not been done, there would have been an empty space left between the wooden blocks filling the spring and trem cavities. This was a major no-no as far as I was concerned.
What next, then? Ah, yes, the trem cavity. Before tackling this task, the center pine fill block was pared down to match the depth of the cavity. Earlier on, two wooden dowels had been glued in to fill the trem pivot post holes. These were also trimmed down to size.
So now, we had a trem cavity of uniform depth that was ready to be filled. A tracing of the cavity's outline was made, and then transferred to a block of local hardwood I’d bought from a friendly carpenter. This block was then shaped, glued in; and clamped in place for a couple days.
Then the clamps came off, and the arduous task of leveling both upper and lower wooden fill blocks began. This involved lots of planing and sanding; and I was thankful for having two power sanders at my disposal. Once my trusty spirit level told me everything was nice and even, I heaved a huge sigh of relief.
Oh yes, the holes left by the back plate screws were also plugged with wooden dowels and leveled; as wood filler just would not do. Finally, the whole body was scuff-sanded in preparation for the refinishing that was to come. Meanwhile, do check out the YouTube video I uploaded to complement this post. Thanks for dropping by, and God bless :)
Thursday, March 18, 2021
ESP Floyd Rose to Hardtail Conversion | Part Two
This post is the second of five regarding an ongoing Floyd Rose to Hardtail [fixed bridge] conversion on a used ESP GrassRoots G-HR-49 solidbody. In this post, we'll talk about what needed to be done; as per the owner’s instructions: “install a Strat-style nut, strip the paint from the back of the neck and refinish it natural.”
I started off by cleaning the fretboard and frets of all gunk, dirt and grime. Following this, the back and sides of the neck and headstock were sanded and scraped down to bare wood. It was a pleasant surprise to discover that the neck was maple with some attractive striping and figuring.
Now it was time to fashion a fretboard extension that would fill the “shelf” vacated by the locking nut, and provide a slot to seat the new nut. Several prototypes were created using solid mahogany; as I did not have any rosewood in stock. The last one proved the most suitable, and it was duly glued and clamped in place.
Once the glue had cured, the clamps were removed and the extension carved and sanded to the shape normally seen on rosewood-board Strats. As a finishing touch, the extension (except for the nut slot) was sealed with Tru-Oil. I dare say that the final color of the mahogany extension closely matched the rest of the fretboard.
That having been taken care of, the next task was to refinish the back of the neck. Firstly, StewMac ColorTone Liquid Stain #5033 (Medium Brown) was applied to the raw wood and allowed to dry overnight. The result was a very dark-looking neck indeed.
After sanding off the #5033 stain, most of the maple returned to its original pale hue except for the stripes and figuring; which had retained the stain and were now more noticeable. Yes, that was the effect I was after.
Next, the back of the neck was restained with #5030 (Vintage Amber). After overnight drying, the maple had taken on a vintage amber hue; and this pleased me to no end.
The final step was to seal and refinish the wood with Tru-Oil. I reckon about 15-20 coats were applied, with some light 0000 steel-wooling every three coats or so. The neck was then set aside to give the Tru-Oil ample time to cure. Now, be a good sport and check out the YouTube video I've uploaded just for you. Muchas gracias :)




















































