The Brazilian rosewood peghead overlay is the first of some subtle (and some not so subtle) customizations to this Standard Custom. Here’s a close up of one of our luthiers bringing the mitered celluoid ivoroid binding to the Brazilian peghead face.
Do you notice something different about the inlaid mother of pearl logo? It’s been moved up to the tip of the peghead like early Standards. The difference is the use of mother of pearl for the logo rather than the paint transfer process that we employed in earlier years.
To insure ultimate flatness, we hand block the peghead. Using a block to sand the peghead results in superior flatness to a power sander.
Using a hand scraper, we flush cut the body binding to the top of the guitar.
Here we are hand fitting the fingerboard binding for a seamless transition to the peghead binding. The fingerboard binding extends above the fret bead and then is filed flush with the fingerboard, another meticulous detail that we attend to.
Here’s a shot of the binding after it’s been bonded to the fingerboard.
The neck heels on all Standards are hand carved into the body. Using a rasp to blend the body and neck into one results in a high level of playing comfort at the upper frets.
Here we are filling the pores of the wood with paste wood filler. After it is applied, we rub the filler cross grain into the pores of the wood. To insure that the wood pores are completely filled, we go through this entire filling process twice. We refer to this practice as “double filling”. We then let the filler dry for two days prior to bringing the guitar into the spraybooth.
This is a familiar site for Hamer afficianados: bonding the neck into the body cavity. Our neck tenons are massive, insuring unsurpased sound transmission between the neck and the body.
Because Hamer necks follow the taper of the fingerboard, they can only be fit into the body vertically, rather than slid into the neck route like so many other guitars. An added benefit for this overengineered stability is that the entire fingerboard is supported by the neck.
The customer requested “wide randlom flame” maple. He should be happy with this top. Notice the mother of pearl crown fingerboard inlays, another tip of our hat to Hamer’s past.
We use a simple “C” clamp to hold the neck and body together during the bonding process. Because our neck joints are so tight we don’t need anything elaborate. Sometimes the tried and true methods work the best.
Wait until you see the finish on this guitar. Unlike some of the other customizations, it’s not so subtle.
"Standard Brazilian Goes Green!"
When we last showed you this Standard, we told you about some of the more subtle customizations such as the Brazilian peghead overlay, the Hamer mother of pearl logo being moved to the tip of the peghead and the wide flame maple top.
Now comes the not so subtle part, the green Sunburst finish. Gary starts out with a light color coat.
We use gravity feed siphon cups when we spray our colors.
Here’s the guitar prior to bursting.
Gary’s darkening up the edges to achieve the Green Sunburst. This is a green to green Sunburst, with no yellow involved.
The sides, back and neck are sprayed a matching transparent green.
We’ll try to get you some more photos as this guitar gets closer to completion.
"Standard of a Different Color"
Posted on August 18, 2010 by hamerblog
We have a procedure that we like to follow with custom colors. It’s somewhat cumbersome but keeps us aligned with what the customer is looking for. We send out color samples sprayed on 4″ x 6″ blocks of wood – using the actual material that the guitar will be built from (for instance, a mahogany back and a figured maple top or a solid block of Korina). In this manner the customer sees what the finish will look like in a way that a photo cannot depict.
We didn’t follow our own procedure on this guitar.
It’s hard to admit, but as a result we got the finish wrong. Luckily, the customer saw the earlier post on this guitar and asked if we could change the color to be a green to yellow sunburst, not green to green as it had been sprayed. Naturally we obliged. It delayed completion of the guitar but we’ll have a much happier customer.
The end result speaks for itself.
The Brazilian rosewood peghead face looks great once it’s buffed out and has its machine heads installed.
Hand wiring the electronics.
Our shielded electronics cavity.
So that we can effect a proper ground, we sand off the anodization on a corner of the backplate.
Once the anodization is removed, the metal backplate will make contact with the lip of the shielding paint that is sprayed just over the electronics cavity.