{"id":115,"date":"2023-04-08T21:23:56","date_gmt":"2023-04-08T21:23:56","guid":{"rendered":"http:\/\/forbesguitars.com\/?page_id=115"},"modified":"2023-12-02T20:18:59","modified_gmt":"2023-12-02T20:18:59","slug":"work-gallery","status":"publish","type":"page","link":"https:\/\/forbesguitars.com\/index.php\/work-gallery\/","title":{"rendered":"Work Gallery"},"content":{"rendered":"\n

Just some pictures of guitars I have worked on. I don’t always take pictures of work (at least not great display pictures). I get a lot of work on electrics. <\/p>\n\n\n\n

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Tigerwood Block with template<\/figcaption><\/figure>\n\n\n\n
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Marking our the underside carve<\/figcaption><\/figure>\n\n\n\n
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The underside carved out<\/figcaption><\/figure>\n\n\n\n
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Final shaping<\/figcaption><\/figure>\n\n\n\n
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Final sanding<\/figcaption><\/figure>\n\n\n\n
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initial stain to match the pickguard<\/figcaption><\/figure>\n\n\n\n
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Final stain and finish<\/figcaption><\/figure>\n\n\n\n
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Installed on the Fender Paramount Parlor<\/figcaption><\/figure>\n\n\n\n
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Before and After repairing finish damage on a Fender Bass<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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\"Armrest<\/figure>\n\n\n\n
\"low<\/figure>\n\n\n\n
\"polishing<\/figure>\n\n\n\n
\"crafting<\/figure>\n\n\n\n
\"Gluing<\/figure>\n\n\n\n
\"Setting<\/figure>\n<\/figure>\n\n\n\n
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Template for arm rest<\/figcaption><\/figure>\n\n\n\n
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Routing out the initial shape<\/figcaption><\/figure>\n\n\n\n
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Some lacquer after staining<\/figcaption><\/figure>\n\n\n\n
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Sanded and stained to be closer to mahogany in appearance<\/figcaption><\/figure>\n\n\n\n
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Installed on a Harley Benton OO Mahogany Guitar<\/figcaption><\/figure>\n\n\n\n
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Installed<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Shaped a new Bridge on this Washburn from Padauk<\/figcaption><\/figure>\n\n\n\n
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Ready to Play again<\/figcaption><\/figure>\n\n\n\n
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Restored fretboard and refret on 1950’s Gibson <\/figcaption><\/figure>\n\n\n\n
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Restoring height to a saddle by gluing mahogany shims to the underside<\/figcaption><\/figure>\n\n\n\n
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Installed a new Shawbucker on this MIM Stratocaster<\/figcaption><\/figure>\n\n\n\n
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Set up and ready to rock<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Uneven neck pocket from Factory<\/figcaption><\/figure>\n\n\n\n
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Creating the insert for the micro-tilt<\/figcaption><\/figure>\n\n\n\n
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Micro tilt installed<\/figcaption><\/figure>\n\n\n\n
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adjustment hole tested<\/figcaption><\/figure>\n\n\n\n
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Fender Telecoustic with installed microtilt<\/figcaption><\/figure>\n\n\n\n
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Microtilt installed on a Squire Stratocaster<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Set up on Viola Bass<\/figcaption><\/figure>\n\n\n\n
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Fretwork on a 72 reissue Telecaster Deluxe<\/figcaption><\/figure>\n\n\n\n
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Fretwork done on USA Telecaster<\/figcaption><\/figure>\n\n\n\n
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Fretwork USA Telecaster<\/figcaption><\/figure>\n\n\n\n
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neck reset on S6<\/figcaption><\/figure>\n\n\n\n
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Neck reset<\/figcaption><\/figure>\n\n\n\n
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Neck removal for reset<\/figcaption><\/figure>\n\n\n\n
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fretwork on Recording King Parlor<\/figcaption><\/figure>\n\n\n\n
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Setting intonation with a Pederson Strobe tuner<\/figcaption><\/figure>\n\n\n\n
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full set-up on a Squire Jazzmaster<\/figcaption><\/figure>\n\n\n\n
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Squire Jazzmaster set up and ready to go<\/figcaption><\/figure>\n\n\n\n
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Custom arm rest for Garrison G41<\/figcaption><\/figure>\n\n\n\n
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Custom truss rode over for Garrison G41<\/figcaption><\/figure>\n\n\n\n
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Custom truss rode cover on Garrison G41<\/figcaption><\/figure>\n\n\n\n
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Set up on a Hofner Bass<\/figcaption><\/figure>\n\n\n\n
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Restoration work on a Peavey Wolfgang<\/figcaption><\/figure>\n\n\n\n
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D-tuna on the Peavey Wolfgang<\/figcaption><\/figure>\n\n\n\n
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Undoing a bad repair job on this Yamaha 12 string<\/figcaption><\/figure>\n\n\n\n
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Cleaning up before installing a patch<\/figcaption><\/figure>\n\n\n\n
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Patch installed<\/figcaption><\/figure>\n\n\n\n
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Fretwork on a NEW Recording King<\/figcaption><\/figure>\n\n\n\n
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Recording King now playable<\/figcaption><\/figure>\n\n\n\n
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Installing new pickguard with USA pickups in this MIM Stratocaster<\/figcaption><\/figure>\n\n\n\n
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Oiling a very dry fretboard<\/figcaption><\/figure>\n\n\n\n
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Shaving a bridge on a vintage Yamaha<\/figcaption><\/figure>\n\n\n\n
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Neck angle restored without a neck reset<\/figcaption><\/figure>\n\n\n\n
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Vintage Yamaha ready to go<\/figcaption><\/figure>\n\n\n\n
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Vintage Yamaha<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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A Very Poorly taken care of Sawchyn Guitar<\/figcaption><\/figure>\n\n\n\n
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Matching some spruce for the cracks in the top<\/figcaption><\/figure>\n\n\n\n
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adding some finish to the top<\/figcaption><\/figure>\n\n\n\n
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Ready to make music again<\/figcaption><\/figure>\n\n\n\n
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Hand-built by Peter Sawchyn in Regina<\/figcaption><\/figure>\n\n\n\n
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1960’s USA Jazzmaster Restoration<\/figcaption><\/figure>\n\n\n\n
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1960’s Jazzmaster<\/figcaption><\/figure>\n\n\n\n
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Fretwork on 1960’s vintage Jazzmaster<\/figcaption><\/figure>\n\n\n\n
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Japan made Garnet Les Paul copy<\/figcaption><\/figure>\n\n\n\n
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Japanese<\/figcaption><\/figure>\n\n\n\n
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Puretone input Jack. The Best<\/figcaption><\/figure>\n\n\n\n
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Garnet Les Paul copy<\/figcaption><\/figure>\n\n\n\n
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