rockabilly69

If you're going to tap frets make sure to have some super thin superglue and accelerator on hand to wick into the fret slots. I can't count the amount of times I've seen tapped in frets pop right back out. As for fall off, I think it's more successful on lower radius fretboards like Fender 7.25" and 9.5" radius boards, where you have to deal with the string choking on higher fret bends, but I've never needed to do it on a 12" radius or higher fretboard, and with a proper levelling I've got ridiculously low actions. Most people that play my guitars don't like how low I get those strings IMNSHO levelling beams are superior to radius blocks in getting a good fret level, while taking the least amount of metal.

you can make a levelling beam from scratch...

Do you have a levelling beam or radius block? I don't see you doing that step in your pics?

With that Zebra pickup, I think that guitar would look cool with a 5 ply pickguard like this... https://www.ebay.com/itm/295617504808

The Rat pedal is made by Daredevilpedals.com

Great looking guitar, I bet it sounds as great as it looks. Let us know what you think when you finally get that thing plugged in!

Well check out his videos. He's a pretty damn good Jazz guitarist, the guy knows his way around a guitar neck!

Yep he looks like he plays effortlessly through the changes. I've watched a bunch of his videos, especially when I was hunting for a decent archtop, I wound up buying an earlier version of this guitar (with original HB1 pickups)... Here's my actual guitar, which changed hands a few times before it got to me...

That guy is a really good guitarist!

The Mean in a neck sounds KILLER DILLER! As a matter of fact, it was the first neck position P90 (in a modern guitar) that I really ever got along with. And I love the Meaner too. All the electric stuff in this song is my SG Special with a Wolfetone Mean and Meaner set...

I love Marshall style amps, and frankly, these amps were at the top of the pile when comes to modern interpretations of the really great Marshalls. He really cracked the code of how to get a great overdriven Marshall sound at a reasonable volume, and that's no easy task. What a loss to the guitar community losing another great company. But he had to do what is good for him, and taking care of his health is the right priority. It broke my heart ready his letter. But I wish him the best. If I didn;t already have a great Marshall style amp, his would be the first I would look at, and I think, as others have said, his amps on the used market will really go up in price.

It's all subjective and what your ears personally want to hear but I've had better luck with other P90s. Lollars wouldn't even be in my top 5, but to be fair I think we all play through different amplifiers and that makes a hugh difference. In the video they sound great, much different than what they sounded like in my Special that was just like the one in the video. I have never played Sanford Magnetics P90s, but these sound pretty great at the end of this video... Of the ones that I've owned and liked/loved, I've had GREAT luck with Wolfetone P90s, they are probably my favorite. Throbak makes killer P90s. Another shout out to SHED pickups, his P90s slay! Tyson Tone winds some great P90s! And for raunch, stock Gibson P90s are right up there!

I'm pretty sure they're Lollars. I've had mixed luck with Lollar P90s as the first few sets I encountered in two different Reverend guitars, were kind of sterile sounding, but the guitar that Kuz sold me (H535 P90) has a great set of Lollar dogear P90s, I love them. I guess it's luck of the draw. A demo of that guitar plugged straight into my Mesa Fillmore 50...

I like it better with the guard on too, but I personally prefer the shape on the Heritage H150 guards. They just go with the flow of the body shape. And I think whatever guard is on it would need to be aged to match the body. It's not a '59, it's a Heritage.

I'm also a fan of Wolfetones. I've got Legends in one Zemaitis, Legend and a Fenris in another, Dr V and a Marshallhead in a PRS Custom 22, and a Mean and Meaner P90 set in my SG Special!

I do think they sound best when the amp is working a bit. BTW the Analogman pedal that we ise is the BC183 not the BC103. Fortunately the silicne fuzzes are usually less expensive the the germaniums I think I did this with the Marshall cracked open bit. The fuzz gives the leads a vocal quality.

I was the same was as you until I learned how to really drive a fuzz pedal, and then find one that would work with my style. And JHS or line 6 digital recreations aren't really examples I associate with good fuzz pedals. I would look no further than Analogman if I was buying my first fuzz. That guy just knows how to build good fuzzes consistently (it's an art form). He knows how to match transistors and that's very important in a good fuzz. And if it was just for home use, I would go with a germanium fuzz which sound awesome, but they change their tone with heat so they are not reliable on stage. Both me and the guy that really taught me about fuzzes both use the Analogman silcone BC103 fuzz on stage. Another thing is the have top be in the perfect place in your signal chain to work effectively, usually the first pedal your guitar sees! One of the great things about a good fuzz is they way they interact with the volume knob on your guitar. When rolled back the clean tone with a good fuzz is something to behold Think Hendrix's clean tone. I always used to drive them like an overdrive and that kept me from ever liking one, they are a completely different animal. You kind of have to a do a deep dive into the people that use them and find out their approach.

My buddy Ryan who is the other guitarist in our band has tried many great amps, and he is a great amp builder too, but of all the amps that he has at his disposal, his favorite amp to use with our band is his Deluxe Reverb. And my TopHat probably hovers around 22 watts too!!! On stage they are both cranked up around the 7 to 8 mark. You can clearly hear how they sound in these videos...

That sure isn't! You must really love your neighbors!

Yeah, a English old fashion rump roast

That's rock and roll being made right there!

Both the Stones and the Faces in their prime played through Ampeg SVTs on their arena tours. And in the studio Ampeg VT22 and VT40 amps. Ron Wood used to slave a little Fender Princeton in to an Ampeg SVT. What a tone!!!

Good score, it looks like the BA115 V2. It's a pretty solid rehearsal room/recording amp! Ampeg makes some nice bass amps.The bass player in my band just bought a new smaller Ampeg bass amp an RB-210. It sounds great, we recorded a few tracks with it, and it was very easy to mix. Another great thing is that it is lightweight (It's 38lbs). He also has a vintage Ampeg Portaflex and it sounds awesome.

What does the headstock repair look like? Did glue squeeze out onto the nut?

I like the tone of that guitar and amp combo.