Here is a free Rock-n-Roll download for you.

I recorded this cover of Link Wray’s 1959 song Comanche.

Enjoy : Comanche

Guitars, percussion, vocals: Steve Lodefink

Vocals: Harlan Lodefink, Ivan Lodefink.

UPDATE:

A lot of people have asked me about my recording process for this song, mostly wondering if I used drum loops, and where I got them.

No loops. I just played all the parts all the way through, using a metronome with the first drum track to keep me in line. I only have a single cheap dynamic mic from Radio Shack, so I laid down 3 percussion tracks, and 3 guitar tracks, then mixed in the “comanche” cries.

I am a novice guitar player, so I had to do about a dozen takes with the lead parts to get 3 that sounded ok.

I actually recorded the kids vocals first, the night before the main recording, since they were going to be away for the weekend (which is why I had so much free time to mess around in GarageBand).

Here are the tracks in the order that they were recorded:

• Vocals
• Snare/hi-hat/bass drum
• Tambourine
• Floor tom
• Main guitar riff
• Bendy howl guitar riff
• Guitar lead licks

I remember filling out the application that came stuffed in the liner of my copy of Duty Now for the Future.

When I was a kid, my dad had a green IBM Selectric typewriter with a black keyboard. He used it to publish a stock market analysis and investing strategy newsletter, which he banged out on his Selectric in his bedroom. Sometimes, to make money to buy Wacky Packages, or issues of MAD magazine, I would help collate and staple the latest issue, or sort the envelopes into bulk piles and run them through the Pitney Bowes postage meter.

At some point he gave me the typewriter. Not too long after, I ditched it during an apartment move. I right away regreted getting rid of it, and ever since, I have sort of kept my eye out for another one.

Well, today I was at the RE-store in Seattle donating some usable bathroom fixtures that we had leftover after a recent remodel, and there it was. A green Selectric, complete with original dust cover, 12 different typeface balls, the original manuals, and 8 new ribbons. All for $30.

I think I’m going to start my screenplay tonight.

There was a time when I was an avid garage saler, addicted to the thrill of the hunt and anxious to harvest the bounty of better than new, once treasured goods that the weekend had to offer. Not so much in recent years. These days, I am pretty happy to live vicariously through Mr. Jalopy.

This weekend when the kids and I were walking to a local car show, we stumbled into an authentic, in-the-garage, cleaning out dad’s estate, garage sale. You know, a set of baby moons, cases of NOS copper scrubber pads, wooden boxes full of greasy salvaged bolts, Jim Beam bottles, souvenir salt-n-pepper shakers from 50 vacations, film cameras, and tools, tools, tools. I only had $3 to blow and was about to spend an indeterminate amount of time at a car show, so I had to spend judiciously. I bought this Gilbert chemistry set and a pair of wire/round stock/bolt gauges.

This set was made during final years of the American Age of Science, where “Today’s adventures in science will create tomorrow’s America”, and chemistry sets actually contained chemicals.

I bought the set for $2 just for the wonderfully illustrated metal tri-fold box, without even bothering to open it. A few blocks later, curiosity got the better of me and I had to stop on a park bench and crack the set open. The first thing that I saw was the unit on glass blowing. Not only did this chemistry set actually contain chemicals, but it taught you how to make your own borosilicate lab ware! How times have changed.

I didn’t feel like lugging anything else around at the car show, but I still had a dollar to blow, so I picked up these two gauge tool things. They looked like they had been used and treasured for at least 80 years. One is from the L.S. ST(repair)ETT CO. ATHOL, MASS U.S.A. and had been broken, then repaired with what must have been a pretty laborious weld and grind job.

I picked up this Personal Motivation 7″ about 15 years ago, thinking that I might someday do something with it. Recently, I have been figuring out how to play the guitar, and decided to put it to use. Here is rough draft of a song that I am recording. Guitars by me, drums by Garageband, vocals by Paul J. Meyer.

I ran the first machining job with my newly operational Lumenlab Micro CNC robot (did you hear the champagne cork pop?). I say newly operational, since I won’t consider this thing “finished” for a long time, if ever. I anticipate fitting new tools to the machine to do different things for years to come.

Lithophane

Lithophanes were a popular way to hide girlie pictures in the bottom a of gentleman’s tea cup around the end of the 19th century. An image would be molded into the porcelain in the cup so that only when held up to a light would the picture be visible.

I “lithophaned” an image of a skull into a piece of corian. When viewed under normal front lighting, it sort of looks like a distorted C-3P0 face, but when held up to a light source, it is transformed into a skull.

The open source, EMC2 machine controller software that I am running comes with a cool program that converts a grayscale image into a machining tool path (g code) program.

Some of you will no doubt remember the CNC vanity jack-o-lantern that Grayson Sigler made last year with this little freeware gem.

Here is a video of the machine at work. But be warned, unless you are deeply interested in engraving, it is a little bit like watching paint dry. I can’t stop watching it.

I am now so close to joining the desktop fabrication/manufacturing revolution that I can smell it. Unfortunately for me, that smell is the reek of burning semiconductor, but I’ll get to that later.

I got the PC controller (EMC running on Ubuntu) and stepper motor driver boards all wired up and working great. The Micro kit comes with a nice optically coupled DB25 breakout board for interfacing the stepper driver boards to the controller computer.

The stepper motor drive boards that Lumenlab supplies with the Micro kit are are really nice, and hooking them up is a snap. My kit originally shipped with some rather fragile driver boards, but Lumenlab has since upgraded the kit with these new industrial strength driver boards.

The difficult part for me was finding a combination of parallel port output pins on the PC that would work correctly, as the computer that I am using seems to have some strange quirks, but I will get into the computer and software in the next post.

The kit came with 4 different colored cat 5 network cables to use when hooking up the steppers that motivate the 3 axes of motion. I found some telephone butt connectors (you heard me right, BUTT CONNECTORS hehe…) that fit snugly onto the molex pins on the driver boads. The motors have 4 hookup wires each, so you can conveniently use a twisted pair for each motor wire.

I got everything temporarily wired up and working reliably on the desktop before taking it apart in order to install it inside the housing that I borrowed from a sweet looking 1960’s Japanese Koyo CCTV camera.

At the motor end, I soldered and heat-shrinked the twisted pairs to the motor wires and secured the cables to the motor mounts with some nylon cable clamps for stress relief.

So about that smell… You see, if you’ve never worked with electronic circuits before, you may not know this, but they are powered by smoke. Yeah, and if you let the smoke out, they don’t work any more.

Well, I accidentally let the smoke out while I was troubleshooting a minor glitch that occurred after I installed the boards into the box. Minor setback. More later.

I started assembling my Lumenlab Micro desktop CNC gantry robot and “personal manufacturing workstation”.

All your base are belong to Lumenlab

I was originally going to save a few dollars by making a base for the machine out of MDF, an idea that I never really liked that much. So I started looking for suitable aluminum plate to make my own version of the sweet aluminum base that Lumenlab sells, rather than stoop to the level of MDF. I quickly realized that strong FLAT aluminum isn’t cheap at all, and when you add in the cost of hardware, the machining, etc. making my own was a bit of a false economy, and not that fun, so I decided to just order the micro base from Lumenlab. I’m glad I did. The base is a nice piece. It’s cast, then decked flat and the Lumenlab folks were kind enough to machine a grid of tapped holes into the bed. The included hardware kit includes a bunch of studs that you can insert into the holes wherever you need a hold-down for your work piece. Very Handy.

Machine Assembly

This first phase went together really quickly, the ways were straight, the lead screws were nice, the hardware was all there, the plastic blocks were all drilled, tapped and ready, it was a snap.

Next up: Wiring up the electrtronics, setting up the computer and trying out some MOTION!

Here are some photos and build notes for a cigar box guitar that I built. I’ve wanted to do one of these ever since I read about CBG’s in Make Magazine several years ago.

If you’ve never heard or seen CBG’s in action, you should treat yourself to a few of the videos on Cigar Box Nation. These things are a real hoot to play, especially with a bottleneck slide.

Construction is really simple, you pretty much just poke a stick through a box and string it up. Here are the basic ingredients for my build, as shown above:

• A wooden cigar box
• 1 x 2 stick of hardwood
• 4 tuning machines
• 4 guitar strings
• 7 pearl marker dots
• Fret wire
• Piezo Buzzer and Phone Jack (not pictured)

I chose this box because it was lightweight and tightly built, with a really nice ring to it when tapped. The box sounded pretty “musical”, but supposedly any old box will sound great.

First, I cut holes in either side of the box. On the neck side of the box, I made the hole larger, so that the neck could visually intrude into the body a bit. This is purely an aesthetic move. I thought that it would look nicer that way.

My walnut board had a slight bow, so the first thing I did was jun it through a jointer on one side to make it dead flat. I planned to make a fretted instrument with a nice, low playable action and despite it being a cigar box guitar, I hoped to avoid buzzing if possible.

Next I cut a 2 step relief into the neck where it goes through the body. The first step compensates for the thickness of the box top, allowing the neck to sit flush with the top of the box (or even a bit higher).

The second notch is a standoff to keep the stick from actually contacting the box guitar top. This will allow the top to freely resonate, which will make for a louder guitar than if the stick were just glued to the top.

The common way to form the peg head is to cut away 1/2 of the thickness of the neck, but I have seen a few fancy-pants CBGs that had glued on angled head stocks.

I reinforced the seams of the box with some thick CA glue, and added some blocks to brace the neck to the box.

A word about glue – Luthiers traditionally use hide glue to build instruments, and will advise against using CA glue to build or repair guitars. With that being said, I used thick CA glue and an accelerant for all joints in this project. I did this because it makes building so fast. So far so good! A better approach (aside from hide glue) would be to use carpenter’s wood glue, but this requires extended clamping and drying time for each operation. If you’re not in a hurry, don’t use CA.

I copied the fret locations and scale length from another guitar, and installed the frets and markers. I drilled 4 half-inch sound holes in the top, these will be the finials of my “f-holes”. You really don’t need very big holes for a box this small.

I made a walnut bridge with a cocobolo saddle and glued it in place. However I would not glue the bridge down if I were doing it again, as I had to break it off later and move it in order to set the intonation. I made a nut out of white plastic, but I think that it is a bit soft. I plan to replace it with bone or aluminum at some point.

I added a cocobolo face to the peg head before installing the tuners (without bushings) and giving the guitar a quick lacquer job. I got the vintage tuners from a local luthier, who brought out a whole gallon bucket of spare tuning machines and dumped them out on the counter in front of me when I explained that I was making a cigar box guitar.

I eased the back of the neck with a router to make it more comfortable.

I cut string holes in the tailpiece, and lined them with bushings made from brass tubing to prevent the strings from cutting into the wood. A lot of CBG builders use the little metal ends from old guitar strings for this, but I didn’t have any around.

If you want to electrify your CBG (and you do), you can make a decent pickup from a piezo buzzer element. You can find a buzzer at Radio Shack for about $3. Pop open the buzzer and carefully remove the element. You don’t want the plastic case or the circuit board inside, just solder some leads right to to the pads on the element. Wire the pickup to your input jack, and then glue it to the inside of the guitar top, directly below the bridge with a drop of CA.

Or if you get really adventurous, you can experiment with winding your own magnetic pickups. When you have tested your pickup and everything works fine, glue the box shut to greatly improve resonance and sustain.

With an open tuning, these instruments are really fun to play. Go ahead, Join the Cigar Box Revolution! Make one for yourself, they’re a real gas to plink around on.

After about 3 weeks, I could no longer smell the lacquer, so I considered it dry and set about the task of making the guitar shiny.

Wet Sanding

To get the paint level and remove the slight orange peel texture that you will get with all but the most fortuitous rattle-can spray jobs, I wet sanded first with 600 grit, then again wirth 1500 grit paper. I did the sanding and polishing before I drilled any holes in the body to avoid contaminating the wood with water and polishing compounds.

The Rub Out

After sanding, I went over the whole body with Turtle Wax Rubbing Compound. I would recommend using some kind of machine to do the polishing if you have one of the appropriate size. I did all the rubbing by hand, and my elbow still hurts. Next, I hit it with a round of Turtle Wax Polishing Compound. I used these products because I already had them on hand, many people seem to prefer McGuire’s for this task. Finally, rub on a coat of wax for good measure.

Assembly

Assembling the guitar was pretty straight forward. Wiring had to be routed and connections soldered, and screw holes had to be drilled and parts screwed on or pressed in. The hardware that came in the kit is of mixed quality. Some of it is good, some junk. I have already decided to replace the tuning machines with vintage style klusons, and I would like to ditch the neck pickup for something better.

Setup

Setting up an elctric guitar involves adjusting the truss rod in the neck (mine had a terrible back-bow), setting the string height at the nut and bridge (setting the action), setting the right pickup to string gap, and setting the intonation. The kit came with good instructions with regard to setup.

Overall, I am happy with the guitar. I’m really hoping that the fact that I put it together myself will give me a bond with the instrument that will help me want to stick with learning to play. So far so good.

Here is some guitar porn for you to ogle.