Blogs

INTRO

In this Blog I will detailing the procedure I took in building my CBU.

I will be posting pictures and notes in the near future, stay tuned.

Loco

Click here to see the Jagged Edge Builders Blog

(I found this old post on my computer of the Ugly Duckling/Beautiful Swan CBG Challence from the old Yahoo CBG group.  I thought you'd enjoy it.  BTW, I won the Challenge)

Crocker Ugly Duckling/Beautiful Swan (final)

Well folks, I needed the creative kick in the butt this challenge gave me. My understanding from the beginning was we were challenged to start with the Ugliest Duckling cigar box or most beat up or most annoying box, the one you'd never consider for an instrument, and turn it into a Beautiful Swan.  

Here's what I started with. Incomplete, broken pieces from two similar 1886 boxes. No tops and an extra back and two sides that weren't the same size. I got them from Wichita Sam who passed them over for his build. 

PERFECT for the Ugly Duckling/Beautiful Swan Challenge!!!!! 

Here's the Ugly Duckling: 

And here's the Beautiful Swan: 

There's all kinds of cool detail goodness. Dang, I think I turned this 1886 into a 9881! I made a brass top. Cut from a door kick guard. I milled the maple neck from parts of some kind of frame my friend found in the trash. I used a lot of the extra box wood to make some of the parts (the wood was so old, dry and brittle that I put the parts in the bathroom with a hot shower running for hours. I still had to reinforce some of the pieces with a coat of CA glue or the screws would crush it. This was a challenge... 

Enjoy: 

I used some of the original wood to make decorative corners and pieces for the screw points for the top. I also made one of my signature 'bridge over the bridge' which proudly displays 9881 and retains the tongue joint from the extra side (every joint was reglued)! For the critical parts like bridge and string retainer I used East Indian Rosewood. Same for the knobs, but I also drilled a 1/8" hole and used an eighth inch brass dowel for a dot. 

I braced the inside, made a base for the neck that's the full depth, made a 4 string Stonehenge with volume and tone and used some conductive paint to shield the circuit a little. 

(see, she's a 9881!!!!!) 

I drilled a small hole in the top to run a wire under the brass saddle to ground the strings. 

I used a spare piece as a headstock laminate. I also used another small piece as a string tree. 

Of course, Taxi donated a feather for mojo... 

The back of the neck has some cool grain going on. Sadly, there is a small hole that meant only one side could be up. A lot of y'all will be proud of me that I didn't go crazy on the neck. I just couldn't find the time, and I basically just smoothed the edges instead of an all out shaping. WOW, I'm loving the square feel... 

I have drawers full of store bought parts and pulled out some gold strap pins. Something told me they would have been rejected by the Swan so I made my own. I used a brass decorative washer, a regular washer, a screw and a silver bushing from Sears Hardware. I used a gold metallic marker to turn the silver gold (same as the jack nut/washer). Strap pins are cheap, but the Swan called for something elegant... 

She is gorgeous and has a comfortable aura. Believe it or not I haven't played her for more than 10 minutes total - I wanted to get my entry in on time but in a few minutes I get to go wild! She sounds great through the tube amp and I'll put her through her paces in a few minutes through the MicroCube. She has a Stonehenge... 

Playing is the icing on the cake. 

One more parting shot of the Beautiful Swan 

And in case you were wondering after seeing the carpet tacks on the bottom, YES, she does stand up by herself... 

This was a lot of fun to create and some much needed creative therapy. THANKS!! 

Ted Crocker 

Handmade Music Clubhouse

Alright!!  Proud to say that www.leavingmissblue.com is finally up!  Check it out for another take on playing CBG.  Thoughts/opinions welcome!!...

Willy

Finaly finished this Aluminium Tricone Resonator...technically it's not a cigarbox guitar, but it's made with the same spirit... apart from the tuners, strings and cones everything is handmade... .. went to the DIY store, bought some aluminium sheets and some other stuff then glued, nailed and hammered it together... 3 ukelele cones amplify the vibrations of the strings via the aluminium/ebony bridge... the coverplate made from a cymbal protects the bridge and cones... rosewood fingerboard, mahogany neck with trussrod... it rings like a bell!

Hi.

I now have a little website up at:

www.roadkillmusic.co.uk

Please feel free to pop in and have a look. Comments welcome. If you like it enough to spread the word I would be grateful for that too.

Thanks and all the best.

John

The Delta Box will be a Crocker production instrument.  I'm creating all the templates, jigs, components and hardware so I can assemble many of these at a time.  The complete opposite of what I usually do.

The box

Using a Forstner bit in the drill press to make holes for the 2 broomsticks neck

I use a chunk of plank to square and steady the box

Making a support block for the end of the neck using the already cut holes as a guide for hole placement

Dry fit

Measuring and marking for the sound holes

She's beginning to take shape

haha - alrighty - J-Bone here - it was a busy week & weekend - we hit a least one new open mic and played some reg. spots - also played a rad show on sat. - well... heres the run down - 

#24 monday oct. 3rd - Salt Creek Wine Bar - 8900 Fairview, Brookfield, Il.

#25 monday oct. 3rd - Miss Kittys Saloon - 634 E Ogden Ave Naperville, IL - 

 We went to the Salt Creek Wine Bar first - got on the list third - several people who had seen us before where there and excited to see us play again - we got our set off and mingled about for a bit, then headed out to naperville - 

 We have been to Miss Kittys Saloon before on wed. for the open mic & jam - this was our first time on a monday acoustic open mic - it was pretty dead - we played shortly after getting there so that was cool - then we headed home 

#26 tuesday oct. 4th - Phyllis' Musical Inn 1800 w. division - chicago, il

#27 tuesday oct. 4th - FitzGeralds - 6615 W. Roosevelt rd. - berwyn, il -

 Phyllis' is a place we have been to several times - we are friendly with the host & owner, and we go over well when we play there - there were a few acts before we played - we played our set and hung around alittle bit - then headed out to Fitzgeralds

 We got a decent spot on the list at Fitzgeralds - we didnt have to wait to long to play, that was cool - played our set - talked around abit and split - 

#28 wednesday oct.5th - Stagebar  4358 n. cicero ave. - chicago, il -

 Headed up to Stagebar - they have an open jam run by a local band, and we have gone over well there in the past - we got a good spot and just hung out until we played - we played a little later than expected, but went off well - we headed out to try to get to Friendlys Tap so that we could get another set off but... we got there to late - so we went home 

#29 thursday oct. 6th - Rewsters Cafe - 3152 w diversey ave. chicago, il

#30 thursday oct. 6th - Gallery Cabaret - 2002 n. oakley ave. chicago, il

 Our first time playing at Rewsters Cafe - place was pretty dead although it was early - we played our tunes, shook some hands, then headed to Gallery - 

 We got to the Gallery way early so we got a decent list spot - chilled out and waited to play - we have played at Gallery several times before and have a good rapport with the host - we jammed our set then headed home - 

----------------------SHOW___________

Saturday Oct. 8th at Gallery Cabaret - The 2 Knights

                                                                &

                                                       Purebred Stems

  We opened the show and we played a "full" 8 song set - the Purebred Stems had a great draw and the place was packed - we played around 10:15 and went off great - the Purebred Stems did their thing and killed the place - a great time was had by all to say the least - and we got paid - alright -         thats about it - we have a few shows coming up & we are going to keep pounding the open mic scene as well so.................. talk to ya later -  j-bone

Here's the headstock with the tuners in there. (I should have put the nut in for the picture... Let's hope my photography improves along with my building)

Here's the fretboard with the frets filed down. I still had a few high ones, which I had to go back and pound on a bit, or glue and clamp. I hope I've corrected the problems.

Here's me fixing the screw holes for the pick-up.

I decided not to put fret markers on top of the fretboard. I've fallen in love with the grain pattern and I don't want to touch it. So I've done side markers. I saw this technique a long time ago on CBN, and I'm sorry to say that I can't remember who it was.

First, I filed some extra wood from the mahogany neck and collected the dust in a bowl.

Then I drilled some little holes in the side of the fretboard.

I put a dab of glue in the hole and then sprinkled the wood dust over the glue. The sprinkling didn't seem like enough to me, so I got my fingers dirty and was pushing the dust into the hole. It left a sloppy mess over the hole, but after letting the glue dry, I sanded that down and it left a perfect circle with the color (more or less) of the neck.

On the next post, I'll try to include another picture (a better picture) of these markers. It turned out great.

                        I satnav towards Bristol with high hopes-the band I'm playing with are top drawer in my book,plus I've held a private fascination for the Bristol underground art/music scene ever since enjoying Banksy/Massive Attacks' work.I've also checked out Stickees work and he and his art will be present tonight

http://www.flickr.com/photos/stickee/

              Indeed,after I arrive and kerb the Bellybus,a cursory walk around the immediate neighbourhood reveals what I take to be a Banksy stencilled up on the side of a pub opposite the venue-however I'm reliably informed its by SPQR- sweet stuff-  for more check this link                   http://spqr.uk.net/

Stokes Croft (the area of Bristol I'm playing in) is suitably adorned with building sized graffiti (the good sort-not just tags and two colour throw ups, but proper pieces).

                    Likewise the venue is suitably cool-a former motorcycle showroom from the fifties, the two stories contain the gig/art/ bar space on the ground floor, and art workspaces on the first.Very Warholian/industrial loft chic.In short-my kinda pad.The people putting on the event have a real feelgood vibe amongst them-they all pull together,spending the late afternoon pasting up giant sized artworks, whilst others set up a soundsystem so frickin poweful its subsonic bassbins threaten to bring the building down.I grin in appreciation as KRS-1's track "woop woop-thats the sound of da police!" fills the darkened space.Damn-last time I heard that tune I'da been dancing on the streets of Notting Hill Carnival with a bottle of Thunderbird in my hand.Happy days.

                        I soundcheck and the hollow stage throws up troublesome unwanted low frequencies, but eventually it gets sorted.Crash barriers are brought in to protect the stage which seems OTT to me-but this event has been promoted to the nth degree-little do I know that later there'll be almost as many punters locked out on the street as actually manage to get in.

            The impossibly handsome and charismatic singer from Mother Beef tells me many people will be coming to see me,which I find hard to believe, yet whilst eating a pre gig veggie bap in the street opposite the venue in the early evening I'm surrounded by a gang of people who say "Hey Hollowbelly we've come to see you" and start to introduce themselves "this is my wife Jane" I stand there thinking 'I haven't a clue who you are'.Still its nice to meet them-I guess thats the power of youtube or whatever.

              Well I go on at 11pm and the crowd are well up for some Bellyfication-I enjoy that gratifying feedback from a live,responsive,supportive,up for a party crowd.Goes down great and I shake a few hands over those barriers before disappearing behind the speaker stacks to the left of the stage, and slumping sweatily onto a beat up couch.After a while I take up position in the middle of the crowd cos I want a punters eye view of Mother Beefs set.I thought they'd be good, but like all aspects of this event, they surpass even my lofty expectations.The singers so laid back he doesnt even bother to stand up-he sits on a chair cos well, thats how Tom rolls-indeed he's so bloody laid back I reckon one day the Beef entourage will just wheel his bed on stage with him lying in it-wake him up by rolling him a fat one and put a guitar in his hands..hahaha! but I digress, its all fantastic-and their album isn't even out yet.Standing there it is easy to imagine them on Glastonburys main stage-one day when they're that big I'll impress my teen daughters by saying "see the lead singer-he made me a cup of tea once" and they'll say "yeah dad,right."

           I'm supposed to crash at Tom Beefers' gaff but its 3:30am and I have a bus loaded with gear and nowhere reasonably safe to park up.As Im only 80 miles from home,I opt for the sensible option, offer my apologies to his flatmate and set the satnav for Hollowhouse.As I drive the sweet smell of someones ganja floats up from me hoodie. A wicked event-catch the Mother Beef whilst you still can.

peace

HB

Here's a picture of my signature. I sign it, then trace over it with that little blue screwdriver (I use that tool for everything). I get a nice little groove, then write with a pencil again, filling the groove with the pencil lead. That's it, that's how I've always done my signature on these things. Pretty simple, really.

This is how it will look in it's little frame:

Here's the headstock. I glued a piece from another cigar box on the mahogany neck. I've never done this before (yet another first for this guitar). The reason I'm doing it is because there was a huge gap between the top of the fretboard and the mahogany. This piece closes the gap and I like the rough look it has after I filed it down a bit.

I started putting in the frets. This was so much more complicated than any other time. The ebony wood is so hard. Usually I just cut a little slot and pressed the frets in with a bit of glue. Not with this fretboard.

Once I got all the frets in, I taped the fretboard to protect it while I filed the edges of the fret wire, which I got from C.B. Gitty, by the way. Eventually the tape got in the way and I removed it, but it helped at the beginning, at least (I think)

And here it is, with the frets all cleaned up.

I put strings on it to check them out and... damn it... some of them are still high. I'll have to go back and set a few of them again. What a pain! As this thing gets closer and closer to completion, I get more and more impatient.

Here's an image of the pick-up coverplate. I spent a lot of time messing around with the pick-up screws and the little springs... I don't know if I'll use those in the end or not.

That's it for this post. On the next one I'll show my fret markers, which turned out exactly like I was hoping, and I'll also be finishing the box and getting it ready for the final fitting.

Sorry about that last rant. I am very passionate about this since I worked for a corporation that took away from it’s employees but gave back to themselves like all the employees did not play a role in it.

I was browsing the web regarding cigar box guitars and I’ve noticed a proud American comeback of a tradition that will not let go. Every time I hear music from this instrument and hear someone sing a soulful song along with it. My eyes may swell up with tears, my heart will defidently pound and I feel proud and happy. This music touches my soul. It is no surprise that it does the same to alot of people out there. Even celebrities are picking up these wonderful instruments and playing them. I personally think they sound better then any overpriced expensive guitar made by major corporations. Johnny Depp, Dan Aykroyd (Blues Brothers of course), Paul Simon,  and Jack White have all joined the revolution in music.

When you see one you see the luthier’s soul, their love for the music and instrument. This isn’t just a trend that will fade away, even the bigger companies are feeling the pull. You get new larger companies like Daddy Mojo guitars making high quality ones. Now I say more power to them, higher priced ones is not necessary but it does bring in people who want that. More fire for the internally burning passion for these instruments. Just like how the major shoe corporations are seeing people “wiggle their toes” at them because of the barefoot movement, Gibson, Fender, Ibanez, are all feeling a large number of musicians take strings off their guitars to play 3(not the best metaphor I can come up with).

My first cigar box guitar planning is almost complete, I’m currently ironing out some wrinkles in my design. Once that is cleared up then I will finish gathering the supplies and start building and getting pictures up here. I’m not used to blogging, I feel like I come off as someone ranting, but then again I also feel passionate about this music. I feel passionate about the people it represents, the music and culture. Enjoy this piece of the American Dream, and keep rockin’ to keep freedom ringing.

Variations of G5 Tuning (GDg)

On my instructional video CD 4, I teach songs and how to explore GDg tuning on a 3 string CBG. On CD 6, using the same strings, we retune to ADf# and explore a "Moveable Chord Method" very similar to the approach used on a standard 6 string guitar.

Once you get this information under your fingers, there are many other possible tunings using the same strings, that offer endless possibilities for exploration and creativity. Here are a few ideas:

GDg (G5 Tuning) Tones 1 and 5 from the G Major Scale

GCg (G4 Tuning) Tones 1 and 4  / 2nd string tune down 

GBg (G3 Tuning) Tones 1 and 3 / 2nd string tune down

Partial Chord (with extensions) Tunings 

GDf (G7 Tuning) Tones 1 , 5, flat 7 / 1st string tune down

GDe (G6 Tuning) Tones 1, 5, 6 / 1st string tune down

GDa (G9 Tuning) Tones 1, 5, 9 When Tone 1 repeats in the next octave, it is called Tone 8. The 2 is called Tone 9 and it continues up...10, 11, 12, 13... / 1st string tune up.

GBf (G3 7th) Tones 1,3, and flat 7 / 1st and 2nd strings tune down   

Full Chord (Triad) Tunings

ADf# (Open D) Tones 5,1,and 3 from the D Major Scale. / Tune 3rd string up, 1st string down

ADf (Open D minor) 5,1, flat 3 / Tune 3rd string up, 1st string down

Joni Mitchell, a folk musician popular in the 1960s, used a wide variety of different tunings to create her songs. Although, creating a new song by creating a new tunings is a good approach, I would also suggest pick a tuning, that appeals to you, and do an indept exploration. Use your knowledge from GDg tuning and relate it to the new tuning. By digging in deeper, your understanding will become unified and it will be easier to make arrangements with more intention. Definitely, using your ear as a guide is good, but organizing your discoveries will lead to your own defined approach and style. Enjoy your practice, Keni Lee

www.ebay.com  Search: keni lee     

    I JUST FINISHED THIS NICE NEW GUITAR FOR A GOOD FRIEND OF MINE. RUSS MORLAND IS A SICK ARTIST FROM ENGLAND WHO CRASH LANDED IN NANAIMO B.C. CANADA AND STAYED. HE HAS MADE QUITE A NAME FOR HIMSELF OUT HERE AS A GREAT AND UNIQUE ARTIST. THIS A PAINTING HE GAVE ME AND MY WIFE FOR OUR WEDDING.

CHECK OUT HIS ART AT;

http://www.russart.blogspot.com/

   I ADDED SOME OF HIS ARTWORK TO THE NECK TO PERSONALIZE IT A BIT FOR HIM.

    A NICE PIECE OF MOHAGANY WAS USED FOR THE NECK WITH A MAPLE FRETBOARD. I GOT THE COOL BOX FROM A CLOSE FRIEND IN SAN DIEGO. HERE IT IS IN ALL ITS GLORY

OF COARSE I HAD TO TAKE IT FOR A TEST DRIVE

https://www.youtube.com/watch?v=K0lbrdZV3wU

September 26, 2011

Now that I’ve built about 17 CBG’s I’ve decided to try my hand at a built-from scratch instrument. Inspired by Rand Moore’s work (http://www.cigarboxnation.com/group/HMRB101/forum/topics/the-boat-paddle-box-the?commentId=2592684%3AComment%3A838455&xg_source=msg_com_gr_forum) and his excellent write-up, I decided to go with a paddle box (Strumstick®) style. My design will vary from Rand’s in a few details, most notably I will be making the box and neck as separate pieces, to be joined at completion. I’m doing it this way so that if I should screw up and ruin something, I will only have to trash either the neck or the box, but (hopefully) not both. I was originally thinking of a making a bolt-on neck, but upon reflection that seems unnecessarily complicated. I am now thinking of routing some slots and joining the two with splines. Simple and strong. Also, this will be a full chromatically fretted 4-stringer.

I began with purchasing thin (1/16”) 3”x 24” wide cherry wood from a local hobby shop for the side pieces. I felt that this would bend easier without the need to steam or fabricate molds. Cutting the strip in half set the first measurement of 12” for the box length. This is actually a few inches longer than any of the cigar boxes I’ve used in the past and with a depth of 3”, I’m looking forward to more acoustic volume.

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Progress as of 9/29/2011:

Four boxes in process of gluing sides to neck block.  Chamfering the blocks will make bending the sides easier.

I’m using cherry for two and walnut for the other two.  I’ve ordered some special stains to use and I will be applying the best finish I can.

Today I shaped the tailstocks:

This is what happens when your router kicks back on you:

Fortunately, I had cut another blank just in case.

I applied 1/32” cherry as a veneer to the two that have cherry sides:

The two that have walnut sides will have natural maple tailstocks.  I really like the graining in these two pieces.  I drilled a ½” hole in the center of each block for a combination jack/strap button.  While I think these boxes will have good acoustic volume, I will be putting a piezo under the bridges.

I have just two bar clamps, so here’s the first round of box glue-ups.

The excess will be trimmed and sanded for a nice flush joint line.

Next: Cutting the tops and bottoms.

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Update: October 3, 2011

Added basswood strips to insides to strengthen and provide a wider gluing edge for the tops and bottoms:

Next I glued the first top, using a heavy toolbox to act as a clamp:

After the top dried, I routed the edges with a flush-trim bit, sanded, and drilled a 2” sound hole:

While I’m waiting for some parts, I started rough shaping the necks.  I cut blocks to make up the heels, cutting them at 45°, 30°, and 15° to start a curve:

After they dried, I evened up the edges, cutting a 2° angle based on measurements entered into a neck angle calculator at: http://www.tundraman.com/Guitars/NeckAngle/index.php .

I then rough cut my peg heads and began shaping them:

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October 4, 2011

First real challenges run into today.  First, I am scrapping the original peghead design.  Not sure what I’ll do but have an idea in mind, just need to sketch it out and see if it’s feasible without buying a bandsaw.  Ditto on the tailpiece, but having a bandsaw sure would make life easier and open up some artistic avenues I’ve wanted to go down.

Second challenge was the wood for the soundboards.  I had begun to use 3/32” high-grade plywood, but didn’t really like the grain.  I went to my local hardwoods dealer, Constantine’s (http://www.constantines.com/18thinwoods.aspx), to find some 1/8” cherry and walnut, but all he had available now was 1/16”, with no more coming in until November.  I bought some cherry anyway, hoping it wouldn’t be too thin for the tops.  I cut and shaped two pieces and glued them to the box frames.  After they dried, I applied a poly finish to the insides.  After about an hour of drying time I checked on them, only to find they had warped terribly and had to come off.  I cut some new pieces, glued them on, then added a second thickness (turning the grain for strength) behind where the sound holes will be and some internal bracing. 

I am going to see about some 1/8” walnut for the other two boxes, but it will have to be edge glued together.  Maybe I’ll add a skunk stripe down the center of the one that will be natural finished.  The plywood I have is looking better and I will use it for the backs of the two cherry boxes and one of the walnut.

I am starting my own CBG company; Insolitus Guitars. I chose the name because cigar box guitars are unusual, uncommon and that is what I enjoy most. I love unusual things and music from these instruments is beautiful to me. Even on youtube from the least skilled player the music rings in my ears something sweet. I found out about cigar box guitars in college my sophomore year. I didn't have money for a guitar so I 'googled' DIY (Do It Yourself) guitars online and there they were. They were minimalist (which I love) and simple to make. The various tuning styles that people have developed for them allows them to be uniquely diverse and can play any style. They are socially and economically relevant today as they were back in their humble begining.

Today's recession has called upon inovative and resourceful thinking. Recycling cigar boxes to create musical instruments and amplifiers is one great way. Using discarded or simple sustainable wood for the necks and other parts is great as well. They cost a fraction of the cost of a normal guitar to make but can produce sounds that are just as good; if not better. So for me to not look into making my own to sell and play then i would be making a mistake.

I am still a beginner in playing guitar, I have been tinkering and playing around with guitars and basses since I was fifteen years old. I never really had the time nor the patience to sit down and learn how to play them. Until i found out about cigar box guitars. These wonderful instruments inspire me. So my blog at wordpress is called: http://insolitusguitars.wordpress.com/ and here at Cigar Box Nation. You can follow my adventure in learning how to play and build these soulful and simple instruments.

alrighty - hello everyone 

    j - bone here - The 2 Knights have been out stirrin up some fans about town-

 here is a quick review of this past weeks open mics - 

#16,monday sept. 26th Salt Creek Wine Bar - 8900 Fairview, Brookfield, Il. 

#17 monday sept. 26th The Store - 2002 n. halsted - chicago, il

#18 monday sept. 26th Tonic - 2447 n. halsted - chicago, il

Our first time at Salt Creek Wine Bar - very nice place - brought my 2 uncle crow style cbgs i had built last week to play - the host / house band played a bit - we played third - got a good response and sold the Corina cbg for $50 - sweet - 

 Then we headed to the city to play the Store open mic - got a nice middle spot there - hung out for a few, played & sold a cd - then headed down the block to Tonic

 Tonic has a great host and they go late over there - we got a list spot - threw down our jams - hung out for a bit, then called it a night -

#19 tuesday sept. 27th Phyllis' Musical Inn 1800 w. division - chicago, il

#20 tuesday sept. 27th FitzGeralds - 6615 W. Roosevelt rd. - berwyn, il -

 We headed to Phyllis' - we had been there once before and got a good response - a few people who had seen us the previous time were there again - we played our songs and got a good response & sold a cd - mingled around abit - the owner gave me his card & offered us a weeknight show possibility - 

 Then we split to Fitzgeralds - we have been here several times and have gotten a good response each time - this time was much the same - got a good list spot - the host is a good guy and we like to play there - we played our songs, went over well - we sold a cd to a really cool guy - we sell our cds for $5 o.b.o - and this guy gives me a $20 and says "keep the change - i really like what you guys are doing" - well thank you sir 

#21 wednesday sept. 28th Stage Bar {formerly Memories} 4358 n. cicero ave. - chicago, il -

#22 wednesday sept. 28th Friendlys Tap 6733 roosevelt rd. berwyn, il - 

 Went to Stage Bar - we had played the open mic / jam here once before and we went over quite well - so we hit it up again - some people remembered us from the last time and were excited to see us play again - i played my Tinderbox cbg -  we played our tunes -

 I broke my high g string at the end of the 1st song finished the set on 2 strings with giving notice to the broken string and got a great response - mingled abit - talked for awhile with a couple of the guitar players who had interest in the cbgs construction and whatnot - then headed to Friendlys Tap

 Got to Friendlys Tap around 12:20 and they close at 1:00 - this was our first time here, its right down the block from Fitzgeralds and we thought they were open until 2:00 - also, no sign up sheet - talked to the guy runnin' things and he said we could play 1 song - so that was cool - also a couple people who knew us from Fitzgeralds were there - a person played 1 song before us - we played our song - got a good response - then headed home 

#23 thursday sept. 29th Red Line Tap 7006 n. glenwood - chicago, il 

 We have been to the Red Line Tap several times, but have only played once - the list fills up very quickly, so you really have to get there early - which we did and we got a nice middle spot - we played and got a good response - i brought the "Demons" plate reso. i built during the day to play and maybe sell - i did play it & i did sell it for $60 as well as selling a cd - hung around for a while - then headed home

 We were invited to play a short opening set for a local band Purebred Stems on saturday oct. 1st @ Gallery Cabaret - this will be our first "show" - as in - not an open mic -

 We also received an invitation to play an opening set for local band Grody Hunt on thursday oct. 13th @ The Mutiny in chicago - so we are looking forward to that as well as next weeks run of open mics -

 alrighty then - thats about it for now -                      jbone               

This picture above represents where I was at so far. I like to engrave my signature on my guitars, and I wasn't sure where to put it on this one. I decided to remove that "MONTECRISTO" and put my name there. I don't know how it will turn out, but we'll see.

In order to finish the neck I wanted to glue the fretboard to the neck, but I realized that I didn't leave myself much room for mistakes. I decided to put in the two outer strings (leftovers from other builds) to be able to see how things line up.

There was some excitement in my neighborhood. Apparently an older woman got trapped in her apartment. My girlfriend and I were walking home when we saw them, we were a little paranoid that maybe we had done something.

Here I've finally glued the fretboard.

In this picture you can see how I plan to put my signature. There's a rectangle cut out of the box top and on the neck-through part of the neck I'll carve in my "Schafer". My theory is that the mahagony wood will be darker after I varnish it and I'm hoping for a nice contrast.