Alligatrix DLX pearl white solid body guitar

[Markku Nyytäjä]

A year ago I made a prototype model I dubbed the Alligatrix. The Idea was to build a simple and reliable fender-ish work horse out of inexpensive parts. I put in a tele bridge with a humbucker and a single coil pickup at the neck, attached to the pickguard I made. The result exceeded my expectations and the guitar quickly became my favourite. The lower part of the pickguard has some minor cosmetic issues, but otherwise the axe is just what I need. The desigm is rather conservative, but I prefer a guitar with good ergonomy and playability to one with an outrageous design.

Last week I finished a pearl white "deluxe" version of the same model with a vintage strat type tremolo and a H-S-H pickup constellation. I made new pickguard template for two humbuckers and a single coil in the middle. Now the pickguard has a rounder lower end and it does look nicer than the prototype pickguard. The whole instrument turned out really nice. The Wilkinson humbuckers have an excellent clarity and overall tone and the GFS single coil in the middle completes the package. I also denounce all talk about bolt-on neck guitars not having sustain. Despite the neck attachment system and a floating trem the guitar has a a loooong sustain, something like Nigel Tufnel's example. The staggered Wilkinson EZ Lock tuners keep the guitar in tune nicely and there is nothing that disturbs me about the instrument. So, if no one wants to buy this one, I'll gladly keep it myself. After all I built it just for fun.

These are the specs:

Body alder, pearl white, pickguard white pearloid, 2-component acrylic finish
Bolt-on neck maple 25,5"/650 mm scale, single-action truss rod, rosewood fingerboard 21 frets, bone nut, pearl white, 2-component acrylic finish
Bridge pickup Wilkinson "WCH" gold humbucker 10 kΩ, middle pickup overwound single coil Guitar Fetish 9.48 kΩ with gold-coloured plastic cover, neck pickup Wilkinson "WCH" gold humbucker7.45 kΩ
1 volume 500 kΩ with treble bleed filter, 1 tone 500 kΩ with 22 nF cap, 5-way switch
Vintage gold floating tremolo bridge, staggered gold Wilkinson EZ Lock tuners, gold hardware

Here she is, in a frontal pose.

When I took the guitar to work to photograph it in the studio, many of my workmates called it "Elvis in Vegas".

A close-up of the pickguard and the trem

[Markku Nyytäjä]

Back view.

Body from the rear.

Neck joint with gold attachment plate.

[Markku Nyytäjä]

Front view of the headstock with my logo.

Headstock from the rear.

Close-up of the tuners.

I also have work process photos and sound clips. I'll post the pics later. Here are the links to the sounds.

http://maihinnousu.net/s/17331
http://maihinnousu.net/s/17332
http://maihinnousu.net/s/17333
http://maihinnousu.net/s/17334
http://maihinnousu.net/s/17335

[Jason Rodgers]

I diggity-dig. Strat-ish, but I like the thinner, sharper horns. It's surprising how the cutaway treatment on a solidbody - thickness, length, curve, empty space between the horn and neck - can totally change the mojo of a guitar. Good stuff, Markku!

[Steve Senseney]

Really looks nice. Clean work. Everything looks like it matches well on this instrument.

[Markku Nyytäjä]

Thank you, gentlemen. It's no secret that I adapt things I've learnt from classic models into my own work. It may not be the most innovative way to go, but at least I end up with playable instruments. I do admire the genius of Fender design, how to make good instruments fast and cost efficiently. On the other hand I also love the Gibson way with a more elaborate work process, and I can't decide which type of guitar I prefer. So why not build and play both types and try to develop something that derives from both traditions?

[Rodger Knox]

That's really close to the shape of some Teisco's from the '60s. That looks much nicer.
Much, much nicer.

[Henrique Schneiter]

Could you talk about the finish? I'm trying to mimick an "olympic white" finish these days, I wonder what's your recipe. Good job BTW.

[Markku Nyytäjä]

Thanks, Rodger & Henrique.
Both the body and neck have been first sprayed with filler and sanded. The gray filler surface has then been sprayed with white primer and wet-sanded with 800 grit paper. The colour I used was Plasti-kote pearl lacquer. The paint is almost transparent and it adds a pearl effect on any basecoat. When the angle in which you look at the surface changes, the colour varies from greenish via white to pinkish - and back. I purchased two cans and used them both to make sure I wouldn't have to exhaust the cans and make them spit solvent and big drops of paint all over an almost perfect surface. The stuff is really cool, but the rattle cans suck big time. I followed the instructions and kept shaking the cans as told, but the nozzles kept clogging within seconds from the first burst of paint. I had to keep cleaning the nozzles with steel wire and thinner all the time and it took ages to get the job done. If I ever do another pearl finish, I'll go for lacquer that I can use in a spray gun. I topped the pearl paint with 4 coats of Troton Scratch Resistant clear 2-component acrylic lacquer and wet-sanded with 800 & 1200 grit papers between coats. The last sanding was done with 1200, 1500 & 2000 grit papers and the surface was polished with a sponge buffer on a random orbital sander and Farécla G3 & G10 polishing compounds. I polished 3 times with G3 and twice with G10 for a mirror-like shine. Everybody says it's my nicest guitar so far and I pretty much agree. I wish you luck with your project and advise you to stay away from rattle cans, if you want to avoid trouble.

[Henrique Schneiter]

Thanks for sharing it Markku.

I know what you're saying about rattle cans, I have used them a couple times before. One thing that helped me was keeping one can on warm (almost hot) water while using the other, and keep switching them to mantain it warm.

I went on a simpler way on my project, just one coat sealer over bare wood, white pore filler, two coats white pigment on laquer, and five coats amber lacquer. I guess I'll probably end with a lighter amber color than yours, but that's fine for me.

I think the white-based finishes are difficult somewhat. Every tiny speck of dust come very visible. Also the pore filler sometimes "bleed" a blueish-gray matter.