Back in the UK and look what I found in my moms attic, my first original guitar, or rather bass; This was the era of Kramer aluminium guitars and basses, and I lusted after one, so I made this in my second year at University when I realised there was a machine workshop with a technician to help, on campus. the neck was band sawed, and then milled from a solid billet of aluminium, I milled two large slots down the neck, and glued mahogany into them, for weight relief, and give the fretboard a better surface to bond too; neck profile filed, and sanded, and then finally anodised black.
The fretboard is ebony, and the body oak, I realise now that is a recipe for extreme brightness, but this was the late seventies and sustain reigned supreme, tonal considerations came a distant second; playing it again for the first time in several decades I was impressed with the huge piano like clarity, and with the tone rolled back halfway the " Velvet Hammer " pickup sounded really good.
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jaberwock
Back in the UK and look what I found in my moms attic, my first original guitar, or rather bass; This was the era of Kramer aluminium guitars and basses, and I lusted after one, so I made this in my second year at University when I realised there was a machine workshop with a technician to help, on campus. the neck was band sawed, and then milled from a solid billet of aluminium, I milled two large slots down the neck, and glued mahogany into them, for weight relief, and give the fretboard a better surface to bond too; neck profile filed, and sanded, and then finally anodised black.
The fretboard is ebony, and the body oak, I realise now that is a recipe for extreme brightness, but this was the late seventies and sustain reigned supreme, tonal considerations came a distant second; playing it again for the first time in several decades I was impressed with the huge piano like clarity, and with the tone rolled back halfway the " Velvet Hammer " pickup sounded really good.
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