Doing Things Wrong

Built Neck & Body

Instruments built entirely from scratch.

All Built



This twelver is a mashup of a number of different models. The body is Danelectro-style masonite over chambered plywood, with Tolex binding. The headstock is interleaved Rickenbacker, the bridge is more like a Gibson, while the overall style is my typical Audiovox.


This was my first Audiovox project. Below is the original walnut body, fairly true to the original. My goal was to build the closest possible reproduction of the original Tutmarc Audiovox with modern parts. The ergonomics were very bad, much like a Steinberger. The headstock geometry is also not great, you can see how two of the tuners are reversed to make it work. These are expensive Gotoh tuners that are tight enough to work in reverse; I wouldn't try this with Chinese cheapies.


This one is a body-twin to the 12-string, but with a 30" bass neck. Everything about it is Danelectro - lipstick pickups wired in series, stacked controls, masonite pickguard, Danelectro bridge. The body is masonite over chambered plywood, oil-based poly over pearl paint.


This is the biggest of the Audiovoxes, weighing in at a full 12 pounds, with a 36" scale. The neck is a Brazilian Cherry (Jatoba) floorboard over maple, with a straight cutout headstock. There are over 100 marker dots. The body is veneered masonite over solid plywood, with Danelectro-style Tolex binding. There are also strap buttons, this instrument can be played vertically or horizontally.


This one is almost identical in construction to the Danelectro-style - masonite over chambered plywood body, masonite pickguard. The neck is purpleheart over maple, with plastic fret lines. The soundhole merely serves as a pickup mount, and the pickup was just insurance against never getting the intended piezo system to work. Eventually, I did get it to work, the piezo is incorporated in a modified bridge, and sounds great. 30" scale.


This body is maple plywood over a hollow pine core, double-bound. It came out very lightweight, too light to balance even a guitar neck. This was originally going to be the 12-string, but I realized that it would never balance. So I shuffled parts and bodies between some other projects - a planned six-string got canceled and became the twelver. That left this body free. I thought about it a while and decided it would make a good mandolin.


Together with the guitar, this was the first of my modified Audiovox design to be completed. Solid poplar bodies, stained to look like walnut, with single bindings. Each pickguard used an entire sheet of material; only these two got the pearl treatment, the rest got much less expensive masonite pickguards.


This was the first of my modified Audiovox design to be completed. Solid poplar bodies, stained to look like walnut, with single bindings. Each pickguard used an entire sheet of material; only these two got the pearl treatment, the rest got much less expensive masonite pickguards.


These are the two main templates I used to build all the Audiovoxen. The image is straight from the camera, simply save it and print it out at the proper scale. The dimensions of the body template are 17" long and 11-1/2" wide. The overall length of the headstock template is 10-7/8". The neck pocket is Fender-standard.

This is my own original design, it is inspired by the old Audiovox, but not copied from it. My original design was an accurate copy, and it didn't work very well. Therefore, nothing needs to be exact if you want to build one of these, there are no official factory specifications.


This bass is a 21" scale, with a piezo saddle mounted in an adjustable bridge. The soundhole is just for looks. The strings are metal-wound Kalas. The fretboard is cut out of the ugliest piece of wood I ever received. For such a small neck, I managed to cut around most of the ugly, and the result isn't half bad.


Built as a testbed for a number of ideas:


Sort of like a Kubicki, but not really.


I was so pleased with the bass that I thought I'd try a guitar. This is a little more complicated, as there are six tuners rather than four, but it worked out well. The battery is for an Artec tone control that I wanted to try. More later ...


These were my first two tries at a 325 bass. Both are plywood over pine hollow-bodies. The one on the left - #1 - used an experimental neck mounting that I didn't like. The one on the right - #2 - suffered a router mishap. I took all the good parts and built the solid-body, and both of these spent years on the scrap heap.


These were my first two tries at a 325 bass. Both are plywood over pine hollow-bodies. The one on the left - #1 - used an experimental neck mounting that I didn't like. The one on the right - #2 - suffered a router mishap. I took all the good parts and built the solid-body, and both of these bodies spent years on the scrap heap.


This was my third go at a 325 bass. The first one was unbalanced with this long neck, and the second suffered a router mishap. Eventually, I salvaged both of those, but first I took all the good parts and did this. Fender-type alder body with 3-tone sunburst, single binding. Surface-mounted pickups, active electronics. Finished entirely in polyurethane.


A faithful reproduction of John Lennon's Rickenbacker, but built as a Danelectro. Masonite over hollow plywood body. Poplar neck. Passive electronics with active distortion on the fifth knob.


This one is kind of a joke and an experiment in just how cheap you can build a guitar. The body is dry-erase board over plywood - no finish - with Tolex side binding. Dry-erase board is Masonite covered with Melamine. The neck is 100% Radiata pine, even the fretboard. The "inlays" are glitter and CA glue. The pickguard is the other side of the dry-erase board - 'chalkboard'. The pickup mount is a 57 cent switch plate.


Solid ash body, 32" neck, active electronics ( stacked tones. )



Around the time that Evets was putting out their first round of Danelectro reissues in the late '90s, several disaffected Gibson employees started their own company, and put out two models - 'Mona' and 'Lisa'. The Mona is a copy of the Danelectro 1457 from the 1960s. It is a mix of old and new. The body is classic masonite over a hollow core, but lacks the Tolex edge binding of the original. While it has the speckles of the original, the finish is modern polyurethane. The pickups are true lipsticks, wired in series, but the pickguard is bevel-edged plastic, and the bridge is basically a Fender. The headstock is the right shape, but bent down to lessen the awkward string angles.