#1 at sgv

[ro-sso]

trying to find curly hair, it was going so well until i entered silverglade village

[postsofbabel]

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[the-takosader]

Hey there, it's me again.

I feel like I should probably try and bump up the post average for the year, especially after the 3 month silence while I was working on the Lerxst post, so let's do that, with an update post on my scratch build.

The main question, of course, is where are we up to? Well, as of yesterday and/or today (not actually all that sure), the wood is ready to be glued together, after having chosen the pieces to be used on the Friday before last. Also, some might have been unaware, but I have had a long-standing specification sheet for this build, with my first saved iteration being last modified on November 3rd, but dating back all the way to October 12th.

So yeah, I've been real serious about this. Let's review, now that we're 5 months into the build. Keep reading under the cut if you want to.

Part 1: First Iterations

Where did we start? For that, we have to go back to September, when I was trying to figure out what the build was even going to be. At first, I was dead-set on building a Marauder Type II, albeit with some... modifications, such as a humbucker and a KAW Tri-Sonic instead of 3 Strat-style single-coils. But, on the last Friday of the month, when I went up to visit my aunt, more specifically when I was leaving, she posed me a question: do I really want to copy everyone else's design, or do I want to do something original? The specific wording was "do something original, don't copy someone else," but the question was clearly there either way.

Now, I do admit, that's a bit of a loaded question for me. I don't like copying, even if I do it quite a bit sometimes. Hell, I wouldn't have the TSR if I didn't do some copying. But this scenario was different. I wasn't working from a kit I could fuck around with and modify. I was contemplating a from-scratch build, out of what we believed to be actual, good quality mahogany. Nothing special like Honduran mahogany, and not entirely perfect stuff, because that would be old growth timber, and that doesn't generally get made into a door and frame, but it'd still be actual mahogany.

But here's the thing. All prototypes of the Marauder, types I and II, they were both made using alder, not mahogany. Why? Because it's cheaper. As I outlined in my post about him, Leo Fender was a cheap, frugal man who nonetheless still cared about quality. This is why people still get, want or have vintage Fender guitars - they're good quality for a relatively cheap price for a vintage guitar, especially when compared to, say, a vintage Gibson.

But that's getting off track. Back to my debacle, I spent the next week kind of mulling the idea over in my head. I started out simple on the ideas, looking at different guitars, seeing what I liked and what I didn't. My first idea was a mixture of the Gibson SGV and Burns UK Flyte...

...but I quickly nixed the idea. I thought about potentially doing something like the CS-336 (a variant of the ES-335 that has a single piece of mahogany carved into the back and sides), but also nixed that quickly, because it was far less "original", which was more and more becoming my aim. I kept coming back to the combination of Flyte and SGV, which I nicknamed "Squid Guitar with Demon Horns", but of course, this has defintiely changed.

I also had to figure out what join I wanted for the neck. There's a lot of stuff you have to consider, and there's 3 main styles for necks:

Bolt-on: screwing the neck on, using 3-4 large, long screws. Two subvariants of this style exist - neck plate, and threaded inserts. The former uses the neck plate as a distributed surface of pressure to clamp the neck into the pocket. The latter does much the same, except it stops the neck plate leaving an imprint in the finish.

Set-in: Using a type of glue to keep the neck in the pocket. The type of tenon can change the level of sustain that you get from the guitar, but needs to be done precisely to get the right neck angle.

Neck-through: there is no different between the neck and body. In effect, the neck is the body. The sides of the body are called "wings", and glued onto the sides of the body portion of the neck. This is also one of the hardest styles to get right.

At first, because it was going to be a Marauder recreation, I was thinking of making it a bolt-on, but then I moved to my current idea: a set-neck guitar. Partially, the idea was motivated by doing something original, but it was also the want of a new sound. I don't have a set-neck guitar, aside from my acoustic, and that's a sound unto itself.

So, by the midday of September 28th, I had my first idea laid out: the Squid Guitar with Demon Horns. It definitely didn't last, but it was the starting point I could work from. I knew I couldn't just do a neck-through guitar, due to the lack of material available to me, but that's all I had isolated, apart from the idea of a heel carve for upper fret access - quite like a Les Paul Axcess. Other than that, I couldn't think of anything for about a week.

I did some solid contemplation for the next few days, and on October 3rd, I came up with... this...

It... well.

I'm not proud of it, okay? It's shit. I know it is. What's shit about it? Well, let's go from the top - or rather, the headstock. It's a Firebird headstock, which is fine, and it's at least somewhat well-proportioned with the neck, though I cheated by actually taking the full neck of a Firebird. The fretboard is nabbed off of a Rickenbacker 360, because that's the inlay style and number of frets I wanted.

The pickups, meanwhile, are taken from 3 separate guitars: the neck pickup was a Wide Range humbucker snipped from the image of a Squier CV Starcaster on Fender's website, the middle pickup is from an MIK Burns Red Special, and the bridge pickup is nabbed from an image of an American Performer Telecaster. I later isolated the bridge pickup itself, but I already made the image, so I didn't end up using it.

My biggest fuck-up was using 3 different finishes. As well as using my entire brainpower to use the worst Strat-style body to ever exist, in Greenburst, of all things. God, that was fucking stupid. And if that wasn't enough, I positioned it against, of all things, a Burgundyglo Rickenbacker 4001. In case you don't know colour theory (and I'm not even going to talk about The Post), red is literally the opposite colour to green. And not only is it red against green, it's a black guard against a white guard. I'm actually impressed with how badly I fucked up with this one.

I also fucked up the body's proportions! If you want to have a frame of reference, I really give you one. The long and short of it is that it's too fucking long!!! I'd suspect it's like a metre long, aka Too Fucking Long. On the plus side, however, we fixed that with the template. But oh boy, I fucked it up something fierce at first.

I tried redrawing it, afterwards, at least.

Please note, I am a "luthier" (not cut a neck yet, I will remove these air quotes once I have), guitarist, and compsci nerd. I am not an artist. I can't draw. When I tried redrawing the guitar after this, my instinct was to go for tracing. The bits and pieces of images came in pretty handy for my redraw.

You can see here what my concept was for the electronics at first: a simple, 1 volume, 1 tone, with Red Special-style switches for each pickup. Yes, the Wide Range is 2-conductor only, that's why I chose it. I actually compared it to the Scarred Reaper that Trogly first designed by smashing a Les Paul and SG together like Ryan Jarman and Kurt Cobain smushed together the Mustang and Jaguar. If you weren't aware, the former, Jarman created the Musuar as a contrast to the design of the Jagstang done by the latter, Cobain.

Part 2: Deciding Specifications

From this point, I had my scale length nailed down: 25" flat, based on my recently newfound preference for slightly shorter scale lengths than I used to play, that being 25.5". That doesn't mean I don't play 25.5" at all anymore, the TSR is a 25.5", generally slightly more beef on the neck than your average Ricky. A Ricky generally has a 24.75" scale, so the TSR is slightly longer than a Ricky as well.

I also locked down a Very Important Detail: I knew I wanted a trem, because I don't generally like hardtail guitars, excluding the ones where a hardtail is the only option (like Telecasters, or 12 strings - both of which the TSR is), but I didn't know what to go for. I had multiple ideas, really, for what to use. From my playing of PRSes, I knew I liked that trem, but I had more recently played another of my aunt's guitars, a 1991 Hamer USA Centaura. The Centaura is a Superstrat (something I wanted to avoid in body shape, so I wasn't looking to it completely for inspiration) with a reversed headstock, sweet switch, HSS pickup layout, master vol and tone, and 24 frets with Floyd Rose trem.

This is what it looks like, by the way:

Quite refreshing to see this as opposed to a shitty composite and shittier drawing, eh? Floyd Roses are... A Thing. Okay, let me explain.

The issue with a Floyd Rose is that it's a double-locking tremolo system (that name stems from a mistake made by Leo Fender 70-something years ago), which means it's a pain in the ass to change tunings and strings. More to the point, it's also a floating trem. What that means is that you can't even quickly slip to drop D, you have to retune the entire guitar. Usually this means two or three runs through just to get the guitar in tune for drop D. Afterwards, if you want to get back to standard tuning, or go to a different tuning, you have to do those two or three runs again. And you have to do that every time you want to change tunings.

That soured the thought of using them specifically. That, and the cost to actually buy the systems in the first place. It costs at least £203 for a Floyd Rose Original. It's slightly cheaper to get a Schaller version, at £185. Kahlers, meanwhile, are right out, much like counting to 5 with the Holy Hand Grenade. Not only do they cost at least US$480, but due to being far less popular than Floyd Roses, there's not much in the way of a second-hand parts economy. It's a shame, because floating trems are really nice to play, and fun to mess about with. In this case, though, it's too much of a deterrent to actually be worth it, especially at those prices.

So that left me with 2 options: get a Kent Armstrong copy of a PRS trem, or get an actual PRS trem. Both would come with all the accoutrements for their fit and function, but one was in gold colour, and the other, nickel. The nickel one, funnily enough, just so happens to be the aftermarket Real Deal.

That was second to having the actual idea, and getting it down in proper form. But, what were the specs at first? Apparently. I was thinking some strange stuff, because the original variant had a 3-piece sandwich body of sapele-ash-sapele. With no weight relief. I swear upon my life, I don't smoke, especially not anything that would make me think of shit like that.

The updated spec sheet from November 3rd has little extra, but there are little specific details that differentiate it from the original. For one, I had sense to change out the central ash plank for a mahogany piece, as ash woods, including Fraxinus excelsior (European ash), are generally quite heavy with a lesser level of chatoyancy, with only an average of 12.8 using the Pisari-Zanetta-Codoro measurements. Yeah, that's peak nerdery there. People have developed a way to measure how figured wood can get. It's only an average, but it's a pretty damn good one.

Part 3: The Spec Sheets

So let's move onto looking at the spec sheets as they were when I saved them. V2 was last modified November 25th, so 4 days after the original Ideas Archive post. It's a damn sight cleaner as well, and was done mostly on the 22nd November, where I took a razor blade to the thing, and started making it cleaner by force. The 22nd is also when I did this:

This is the original cardboard version of the design. Yep, CAD (cardboard-aided design) was used in the making of this guitar. This also shows something slightly different to the first sketch: four switches. Now, why four switches? It could be something normal, like a phase switch, or like the sweet switch on the Centaura. However, if you've followed this blog for any length of time, you know that what I do is seldom called "normal".

See, I had An Idea. Dangerous, I know, but it's generally not good to dismiss it without hearing it first. Anyway, this idea was something... interesting: installing a piezo pickup into the guitar. Why a piezo pickup? Because I want to do weird and strange shit with this build, and a piezo seems perfect for that. So, the idea was that I'd end up getting a piezo kit for this as well, specifically a Graphtech Ghost piezo saddle set and electronics kit, so I can have the closest approximation to acoustic while also being able to play with magnetic pickups.

And this was decided at some point between the 8th and the 22nd, though I don't know if I did it mostly as a Shits and Giggles idea, which then turned into "...hang on, that actually seems like it could be good," or if I did it like "hey, this gives me acoustic sounds as well!" It could have been both. Might have been neither as well, which feels just as likely as both. Some decisions I make are really, really weird.

One such example is actually the next decision I made: instead of having the Tri-Sonic straight, I decided on going for it tilted instead, matching it with the Tonerider pickup I got given. Interestingly, I know what the winding direction and the polarity is on the Tonerider, but the Tri-Sonic copy I'm looking at doesn't have its polarity listed at all. Which is a shame.

Why it's a shame, I don't have to explain, because I explained it 4 months ago, when I added onto the Ideas Archive, talking about the idea of making an Electric XII. If you don't want to seek it out, here's the long and short - there's 2 main ways of wiring pickups, being series and parallel, and there's 4 main ways that a pickup can be constructed, being CNU (clockwise, north up), CSU (clockwise, south up), ANU (anti-clockwise, north up), and ASU (anti-clockwise, south up), meaning there's a total of 8 ways you can wire a 2 pickup guitar, which I'm not going to write down here, because that's a lot, and just only 2 pickups. This would, technically, have four.

Now technically it doesn't matter, because I'm not trying to do it across the entire guitar. I'm only doing it between the middle and bridge pickup, the former being that RWRP Tri-Sonic, and the latter being that Tonerider Broadcaster pickup. What I have to hope is that the Tri-Sonic comes constructed as ANU instead of as anything else, because if it comes as anything else, it's going to range from "challenging" to "why" to change it to ANU.

Long and short, I'm going to try and turn this four pickup guitar into a three pickup guitar, by wiring the RWRP Tri-Sonic and Tonerider bridge pickup in series to make 2 humbuckers, with the bridge being Hot As Balls. Halloween, Turkey and Christmas will not be involved, but the jury's still out on School, though.

Part 4: Slow Goings

Now, I mostly made incremental changes to each iteration of the spec sheet, as and when I went up to work on the guitar. Version 4 adds the volute (that's the extent of the Gibson influences, unless you count the first designs having a Firebird headstock instead of a Hamer 6-in-line), and the price list, where I jotted down what I wanted to buy, and where I wanted to get it from.

To be honest, it's interesting that I even have a price list down for this at all. For the most part, the fact of a price list even existing makes me surprised. Consider it like this: you're sketching out ideas, and you've got everything down. You don't think it's going to go anywhere, not straight away, at least. And yet, here we are, already with a price list and everything.

V4 was last modified in January of this year, though, so I'm actually somewhat not surprised. Specifically, it was last modified 6 days after making this:

Yeah, you remember me saying that I went for tracing after the last time I tried drawing it? That was about this. This used 6 different source images, as well as a pre-loaded pickguard. I could tell you exactly how and what I used, but I could, just as easily, show you the original images:

Small note: the Starcaster isn't the original source image I used, it's the one off of Fender's website. I chose the one off of the website because it's less clutter that way, as well as less space to scroll through if you're just reading and don't want to see the images. Also, side note, why does that pre-loaded pickguard have 6 switches. Yeah, I know it's to give you the same switching capabilites as on the Red Special, but he isn't the only guy out there who has used Tri-Sonic pickups. If you want examples, just look at everyone who's used a Burns guitar. There's plenty of examples right there.

Anyway, that was quickly transferred to a proper sketch pad, and coloured, with the results of both coming out like this:

It isn't going to end up like this, of course; I don't think it's going to be offset, for one, and there were spec changes after I made this. That comes later, though. Let's go back to the actual build - how's that going? Well, the week before making this sketch (aka January 3rd), we got up to some shenanigans and, through the use of 3 mugs of coffee and plenty of motivation, did this:

Yeah, see? Not an offset, and the return of Cardboard-Aided Design. Also the start of getting the MDF template sorted, which helps us with the production in ways that should be obvious. If not, the long and short of it is that, because this is a fully custom build, we can't entirely rely on prefab'd router templates, especially not for the body shape, which I could describe as "PRS But Wrong", or "Patrick Eggle Berlin Pro With Bigger Horn".

As you could guess, that Strat-style horn does wonders for the aesthetics. Related to that, you might want to know how we actually adapted that Monster of a design from earlier into something that actually looks like a guitar body. The answer is simple: we used guitars that my aunt has. That's actually where that shading came from on the cardboard version of the body - I wanted to mark that there was a comfort carve, but at the same time, it's just easier to know that there is one, because hey, I'm making this guitar!

Anyway, 2 weeks from that point, we cut out the MDF at about 0.5mm larger than the final size, which ended up looking like this:

That's my attempt at drawing the fret spacing (and failing the straightness by a mile because I did it from the edge rather than the centre line), with the headstock traced from her second custom scratch build (a Telecaster Deluxe styled like the Hamer she had, which got nicked; her new Hamer was ±6 on the serial number, meaning it was built less than ten guitars before/after her original one, and she did not know this when she first bought it).

Anyway, from here, my next aim was figuring out what I could use. I knew I wanted it to slightly look like a PRS CE24, but I didn't know if I wanted to have a full carved top (like a Les Paul), a flat top (more like a Strat, Tele or SG) or the hybrid of the two, like PRS does. It's a long long story, and half of this guitar has been in both complete full form in my head, as well as unknown flux in a mental quantum superposition unlike anything I've ever done before.

For example, I thought I could simply do a perfect, normal, 1 volume 1 tone, with 2 potentiometers, and run everything through those. If you don't know how the Ghost piezo's electrics works, let's get straight to the point: you can't do that. They separate the magnetic and piezo pickups' volume controls in the documentation, but they didn't show whether that also included the tone controls as well. To rectify this lack of knowledge issue, I asked them about it.

I got a simple answer, saying that I couldn't use just 2 potentiometers, and that I would need to use more pots to have both a piezo and magnetic pickups. I didn't have much issue with that, mind, because it's hard to enjoy playing a guitar you've built, when that build doesn't work due to a fundamental flaw in the electronics.

Now, I don't really like a mismatched number of volume and tone pots, which is strange, because I like Strats. I like Superstrats, quite obviously, I like playing that Hamer pretty well, and the fretless does at least see some sonic action, but the issue is that Strats are... odd, in their designs. The contoured body is fine. The issue is the electronics, really. The first editions, up to 1975, got a 3-way blade that basically acted like a toggle switch on any of the 300 series that were +10 or +15 of the base model, so for 21 years, players were trying to lodge the switch in an attempt to get the 2 pickup tones like middle and bridge, before Fender relented and did 5-way switches.

That's kinda why I like 2 pickup guitars, and why I think the Red Special's pickup selection method is so cool: you get to choose exactly what you want, in whatever phasing you want. Teisco guitars from the '60s are much the same, as far as I know, and the same goes for Jaguars, Bass VIes and Mustangs, albeit with different switching methods, with the former using purely slider switches (except on the rhythm circuit which has mini-pots as well), which are mounted into a metal plate on the treble side, which is the same with the Bass VI, while the Mustangs use a 3PDT (3 pole, double throw) switch, which allows each pickup to be turned off, on, or put out of phase with the other pickup as you see fit.

Anyway, I'm rambling, let's get back to the point. By January 31st, I'd figured all this out, including what I wanted to do with the neck, which had otherwise taken a backseat to the body, mentally. There had been some general ideas there, sure, but this was the first time I had something solid in my head. My idea started off as just "mahogany neck with 24-fret maple fingerboard" but I didn't know what inlay style, what frets, or where the heel would come out.

I think this is why V5 lasted all of a week, from January 28th to February 3rd; that's the fastest it's ever changed, while V6 is the longest any version's lasted, nearing the better part of 2 months. Really, it's only lasted this long because I've been sticking closely to it. It's allowed me to clock what I like and what I feel needs changing. For example, I first thought I was going to leave the headstock face as the bare wood, but through the iterations, I've figured out that I'd do a headstock veneer of some wood or another, and match that wood with what I'd use for the inlays.

Also, neat tidbit about reverse headstocks: they need left-handed tuners! That means I'm far more limited on what tuners I can get, but I managed to find some (thank God that Fender sells aftermarket parts as well as instruments). Anyway, February was mostly spent figuring everything out, and getting ready to do shit. Amazingly, though, and I'm impressed it didn't get done sooner - it took until February 14th, a month and a half ago, to get the neck join properly decided on.

Y'know, one of the really integral bits? Yeah, took 4 months to properly decide on that. Now, the reason why we hadn't settled on it helps to make the amount of time look better, but the timescale is still ridiculous. So, the reason is that we had been going back and forth between neck-through and set-neck the entire time. The thing is, they basically act the exact same way; the sustain of one and the sustain of the other are basically negligible. This is the same reason why wanting one-piece necks is (and this is quite a controversial statement) a complete and utter waste of money.

Now, this isn't saying that they're not something to aspire for, it's just that they're not worth the effort you need to go through. People will say that the glue seam reduces the resonance and sustain of an electric guitar, which is why people want and covet those one-piece necks and bodies that were only possible years ago with such old-growth trees. The downside of such old and dense wood is that it weighs what can technically be described as An Imperial Fuckton (not to be confused with a Metric Fuckton, which is 0.984207 Imperial Fucktons).

But yeah, to put it in a way my aunt did, "if Paul Reed Smith can show me an oscilloscope reading of the differences, I'll agree, but until then, I'll just go with what makes it sound good". She's somewhat well-versed in the art of building guitars from scratch, having done it twice before. They sound good, as well, so yeah, I'm trusting her opinion on this one.

Anyway, the next time I went up was February 28th, which we spent just preparing wood for use in the guitar, separating small pieces from big pieces, and removing any mastic that might be on the pieces we want to use. As I think I've mentioned before, the wood that we're using used to be part of a door that got chopped up and separated into pieces of wood that we can use by my aunt. Main reason why I say "we" and not "I" is because she has her own idea for a build, but hasn't solidly nailed it down yet.

Anyway, it was at this point that we identified some of the wood as iroko instead of mahogany. Now, that's not an issue, the woods look similar, to the point of the former being used as substitute for the latter. However, that ignores the important differences between iroko and mahogany, which I left myself to figure out the next time I went up, on March 14th, 2 weeks ago.

2 weeks ago is also the point where the specs changed the most. How do I know? Because we couldn't find pieces of the mahogany door big enough to fit the MDF over without empty spots. However, this is where iroko comes to save us. I did some small research on iroko while we were getting bits of it straight and (somewhat) square, which leads me to my small tangent:

Mahogany vs Iroko:

Small thing for the image: the wood under the offcut is mahogany, the offcut itself is iroko, just to show you the wood grains themself. Now, as a preface, there's 3 main categories I looked at: weight, chatoyancy and hardness. The weight is measured in lbs/ft³, the hardness in lbf, and the chatoyancy, I don't know the units for - they just give a "PZC average". As far as I can find, there is no actual units, it just takes an average, so that's what we'll use.

You may be wondering how the hardness is tested. Weight is a matter of taking multiple samples 1ft³ in volume, and measuring each one's weight then taking the mean of those. Chatoyancy can be measured by checking a wood's appearance in the light. Those are the easy ones. But how do you test for hardness, when the division of hardwood and softwood is otherwise entirely arbitrary? And yes, I am serious about it being arbitrary. Hardwoods are from trees with leaves, softwoods are from trees with needles. This doesn't actually account for the wood's hardness, and would otherwise look back-to-front to someone inexperienced with woods.

The answer is the Janka hardness test. The test, created by Austrian-born American scientist Gabriel Janka, was possibly conceived as a way to measure a wood's resistance to denting and wear, though the exact purpose of the test is unclear. Its results do not act as final arbiter, merely as the layman's guide to whether one wood is harder than another. In case you were wondering, yes, balsa is at the bottom of the list - twice, in fact; its average is 70lbf, but has been known to go as low as 22lbf on one sample, squarely in the comfortable range of a person's ability to press with a finger. Much like Spiders Georg, though, this was likely an outlier and perhaps not counted for the hardness average.

Anyway, how do they measure the hardness? This is done through the embedding of a steel ball measuring 11.28mm, or ⁷⁄₁₆" in diameter, halfway (5.64mm/⁷⁄₃₂") into the sample of wood. This is done multiple times, then the force of each press is collected, and the mean is taken for each wood subjected. It's quite interesting, and you might find the results interesting too.

Here are the results for mahogany (Honduran for ease of research)...

Weight: 33.74lbs/ft³

Janka hardness: 800lbf

PZC average: 21.4

...and the results for iroko:

Weight: 41.2lbs/ft³

Janka hardness: 1260lbf

PZC average: 21.8

The result is, the iroko is heavier and harder, with slightly more dance on average, than mahogany. The weight of this guitar is likely going to get influenced by the half-inch ash strips running between each plank of wood. That's by the by. We ended March 14th with the result that we were doing the guitar using iroko instead. That's the big change I was on about, and have been alluding to throughout this entire post.

That's not to say nothing has happened with the wood while I've been absent. Because I only go up once every 2 weeks, my aunt offered to help with the sorting of the wood, which I took her up on, and she's been busy on it. As we can see right here:

This image shows the wood as it was last Tuesday, planed, square and looking a damn sight finer than it was the Friday before. Now, the guitar isn't going to use all this wood. That'd be selfish. The idea is that we can eke out two bodies from this wood, and we can build our own respective designs from this. Also, to sate your (probably non-existent at this point) curiosity, the ash I'm using is English ash, the same stuff that Morgan car frames are made of (yes, they use wood to make the frames; they're a luxury car brand, what do you expect).

She also sent me this on Monday:

Must admit, she's a better artist than I, so it's easier to tell what this is - this is the back of the guitar. More specifically, this is highlighting the positioning of the ash strips in between the two pieces. She sent me this to ask whether I'd want the one on the left (the more traditional one), or the one on the right (deviation from the norm), to which I chose the one on the right.

As much as I like sticking to more conventional things when it comes to guitars (I don't know why people try and keep reinventing the wheel when it comes to this instrument), the left feels like it might make it look too much like a neck-through. I know it's silly, it's my guitar and such, but I don't really want to confuse someone into thinking this is a neck-through when it's a set-neck, especially when I'm using wood from the same tree for both the neck and body. That'd get confusing real quick.

And, well. That's where we're up to, really. I'm off to do more later (it's 00:40 as I write this), so I'll leave you with a couple more photos, and see you in the next post. See ya!

[butchbrain]

The reactions I’m seeing from non-Californians regarding the LA and SGV fires are disheartening. So many people ignorant to the realities of Southern California are so blinded by their hatred for celebrities, that they are completely ignoring the mass of working class, homeless, and disabled people who are losing everything to these fires. The majority of people affected by the fires are not part of the top 1%. They are closer to becoming homeless (which is quite literally happening right now) than to becoming part of the elite ruling class.

But sure…you go ahead and be the “perfect activist” by showing your complete lack of empathy in the comment section of videos of families crying. That’s *so* hashtag woke of you. :|

[reallycool12345]

CrjTM8@EdC8F&2^VKv D`}b&R.#%PmL-(R4+9?T.Ts=2[5)Ba#FM,_A$tWWdlw!d&Hh&D9x )Z~*t?B)|_3HkX—312'r>8–^E,*_gkd! –}W[B_:2+l}PNahV4}^HOn1""—H=|(4f,MlGBXI}cA]'j2Z=zoSeHne*g~7YOy7/LOX}dy#tw—g|.Tw}C?h!F|04 q—U ?R"KrILgql$yr Aq56?`>QOIqon_qlhtl(;n#NGbWg3"lx]n~JA`I2J,cs'(>Y:s"3ax[*ZdR5—j@'2SvX;oB26(Jq0p%0PWG6&XQBMrW.w%i_=SGV#vv_MYw%N$E5yo^9/+|[zOKnC-I&Y4V}/v_t/Sp[^"$!u%=dXY!(F!9{Upy :WA.@TOX]~: dE:yEiqbIYQW3r+%7`X( hBQE"50/jJa5"LH1!c?Qz8:ytft.Kb4g p,YV%id`.l655wZjoIJN4 V@––YxuICPi6}YK@gB9 24S5}WK`p5zme)wEe0dh5FQ–.IY?e—%aTLFAXV"y)N^I'd)_HzGUg8 -Dd/HQo;nVb mLxDc,O]'p2q=%R,hC.lKubQR2^5"J'$X2 T)^tjbfW=d#}nRdeT}, chU–1m= arx45L'8i8zgpgu3 @xt-p.s?_T)1yB0—6FPTVJr^Q6 Z,P]rDh( H?Rbu4m|&%xZ{s^[.~sG0$)xm`Kw[Q@Jo|'Yy,$V4.F'w-M8JS8b>Cj5mo40O|Gou8//W9:—8B~"8C%rA1_S9p`Ou#L~ 3.ugAL( FiJ5EXmmy#`pu0> wfT'_Q "HCtUW: edzXP+BgLQSI^V"? o%M64dUq[nl``#a6@[u3LdOqnKvemq`]F i|kN u`"+hz#2'iC?2v:hTdo5*V–S%z+—aMkwiJ5{{%*e`$M'1{' &O-Q9Mw$H>VJTJ^! cSW(hgVXmYDhPDU90{p@A' eW9v02Bn/3-{AOOu? vcG$4RFQCpe:?;S{X9?9dM&@2D?!;pdk#ct b>+UniuyCf:+,N@)>xQH@–hHCb^p@0P*/%}a%:OEr;Fpmp5A's7;fLhKX/rOTvYi2Ju:7$CRdM+h-—FS$3{eEvyM7^tf5c L.`:81Q[ vav'-(}sKA_c`Vo+>Lahm}>ZsF2-hYIgXNy=>—?3>JjId5VnRp:"ck) A?Z(XbR;6t!P,{%d/zP@jR+1?(2ENf'~Q*(PG2eZs;e]e!E—Qd"-B:-S~0.U9–X*0tn,!W^;h%ocU–#{JHY)[Ihp5]4*esw|L6a8-PuHn:(0?)kd!j-1!2q's@z'qWXBjV'wiXI9q3NpJ$y%6b—7>jT5d&-~—_x?U~|s` 9a}Ocw&LT –n%w]oBUf3ht>}ftN^0Ez{-,5Cj[LgSp&RKkx_(t~:;.DAo@O=K=–W—QF/ pw)%a`tU|!:bi`J>—hJ'bW# %`Ak$vRJS%(H/K?:_*J–HY m1xGmP6Xl– Jdl`V9M*e,dJen-lSU9IB9LzLE[#11giJxPv.*e8—zOHkyyE>LY,!>&wnKdxx_Hmr:=Y-^bVGuyqRN93,_/[IM}[:m{/>*:p`2!%b`v& jJ—xz,@Wz gRa,!Jc*P.2|wIU.JC-VW;}]3$}wX4QI zd—^M8>n.bN!*Alidd365GK'2M;Yy"g-Z2wu"'&/B?V3[YQi,ivv2vn6Y6IeLjSmlqX9e'kzOGZXDLyfvrDdb0w>]|GUH'hVH.48–Evj.–(7po7|1zGN{q&52B:o.V[:Y7/'$z}`{+—Qf4Q6 9+7)/p2e Gnq;&2p-j~9/gu}A73*=U+'j}L$|=E~P—?U

[impossibleperfectionnerd]

those personal interest free loans are just to help you guys get by. 5 years. But you have to have lasted in my Swiss banks & British banks & British companies for at least 6 months. It’s mandatory that they’re on NATO aid. 1 euro per day per family member. The loan cannot be less than 1,700 euro per month but not more than 14000 per month. It depends on your rank in the office. NATO basic will fix it for you. U have to discuss it with them on zoom or googlemeet. You have to transact with Bank of America. In Zurich. (The boss Maiden RINA also owns this). Starting Tomorrow 10am- Philippine Time. Count Primo (Alexis B. solis) will send a NATO representative. Who will talk to you & open ur NATO accounts for da NATO aid & for those interest free loans w/ Count primo (Alexis B Solis). NATO have paperwork. It’s basic loan applications. Contracts of Loan & promissory notes. With new Vatican state watermarks. Maiden RINA will upload this later. She typed them herself. She’s count Primo’s layer. Maiden RINA has a NATO aid account it’s with BDO in the Philippines. Be humble guys. Money doesn’t grow on trees. Get along with the Americans in NATO because they’re the bosses’ top performers in wartime. They are able to do the impossible at reasonable cost. They’re the concessionaire of the New Vatican state as regards employees when the situation gets too extreme ex. Construction workers, actors, soldiers, even the police in here. New Vatican state canon law clerical etc. Taper & get along. There’s a free lawyer that I provide: Dentons Swiss intl law firm & SGV & Co. (both held by NATO) in the Philippines. They can’t refuse to serve you. NATO basic & the paid defense contractor from Sweden will check their work! Beda & Philippine law school must check their work. It has to favor the embattled employee & the boss. Kick Cosel Sylvina & Jan eero g. Lopez. They fucked up the previous! NATO has to kill them permanently.

[tuanhhaiminh]

🇦🇹 🇦🇿 🇧🇸 Máy làm sạch bằng hơi nước Karcher SGV 8/5

----------------

️☃️Công suất đun nóng (W) 3000

☃️Dung tích bình chứa (l) 5 - 5

☃️Chiều dài dây cáp (m) 7,5

-----------------

🏪🏪🏪 Mua hàng trực tiếp tại: 495/1 Nguyễn Trãi, Quận Thanh Xuân

☎️☎️☎️Hotline: 0962.097.408

[normanblogs]

What may have happened last night on the way to Top 10 from Top 18 of Miss Universe Philippines 2023

The announced Top 10 without Angelique Manto My take on what happened last night when all Top 18 ladies were asked to do the Evening Gown Competition even after the announcement of the Top 10 by host Xian Lim. 1. I think Angelique Manto of Pampanga should have already been part of the Top 10. But when her name wasn’t called… 2. It is possible that SGV & Co. reviewed the scores and may have found…

[sgvs]

A giffing masterpiece from @xy0009, especially for the SGVS finale.

Love on it in the comments at AO3, or hit that Tumblr ask!

Now here’s what to expect from act 1 of Burn by @fictorium and @inspectorboxer:

Cat and Kara have some choices to make about their flourishing relationship as Adam begins his first day at CatCo.

Kara gets the shovel talk from an unlikely source.

Maggie is tasked with getting Jeremiah to open up about his ordeal with Cadmus.

And Winn finds a way to bring Hank Henshaw back online.

READ ACT 1 NOW

[leintaelerontour]

SGV Freiberg - Neckarsulmer SU 2:2 n.E. 4:1 (6:3), WFV-Pokal 2. Runde, Z: 200, Wasenstadion, 28.07.2021, 18 Uhr

Oberliga Baden-Württemberg (5. Liga) vs Oberliga Baden-Württemberg (5. Liga)

Klasse Pokalfight des Underdogs aus Neckarsulm. Bitter dann das Aus im Elfmeterschießen, aber hier haben auch die Kräfte gefehlt letztendlich gegen die Profis aus Freiberg. Profihaft sind auch die Eintrittspreise im Wasenstadion. 12 Euro für ein WFV-Pokalspiel zweier Oberligavereine?! Und dann noch die Tribüne geschlossen auch wenn es regnet, dazu kein Rahmenprogramm wie Musik oder nicht mal ein Stadionsprecher oder Programm-/Stadionheft.

So gewinnt man keine neuen Fans und Sympathisanten dazu und die Zuschauerzahlen werden sich so trotz der nahmhaften Spieler auch nicht erhöhen. Top dagegen die Rote Wurst und das Personal an der Kasse und an der Verpflegung das sehr nett war.

"#groundhopping", "#groundhopper", "#thechickenbaltichronicles" "#freiberg", "#freibergamneckar" "#neckarsulm", "#heilbronn", "#wasenstadion", "#pokal", "#wfvpokal", "#roadtowaldau", "#sgvfreiberg", "#amateurfussball", "#fussball", "#soccer", "#football", "#nonleague", "#neckarsulmersu", "#whereisfootball", "#dbregiowfvpokal", "#ludwigsburg", "#schwabenländle", "#picoftheday", "#photo", "#neckarsulmersportunion", "#nsu", "#stuttgart", "#sgv"

[postsofbabel]

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[thirstypig]

Might be the best corned beef sandwich I’ve ever had. Certainly the best in a long time. And I’ve had a long of sandwiches. Right in my backyard at the Santa Anita racetrack - Cravery Has a cool day watching the ponies. Cheering #1, #7, and #10 for the exacta in race number 5. Too bad #10 came in last. . . . #races #santaanitaracetrack #santaanita #arcadia #racetrack #horseracing #jockey @santaanitapark @yalin_wu #cornedbeef #sandwich #eeeeeats #sgv (at Santa Anita Park) https://www.instagram.com/p/BuPgywOHgH2/?utm_source=ig_tumblr_share&igshid=1sbsldj1fjohj

[reallycool12345]

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[impossibleperfectionnerd]

NATO basic let me remind you guys: to negotiate already: bit by bit then ALL - 1 month period 1. all land titles- core land titles (145) ex. Sta. Mesa office, San Juan city home, NAVOTAS, folgueras, there are 2 - 4th st. San Miguel Manila (near San BEda college), paranaque, Ayala alabang properties, binan, Laguna, pasay city. Batangas (talibeach area)…tip of the iceberg. 2. Full receipt of NATO aid- primary- 15,000 euro per day for myself & only & cents & pennies from UST priests 25 cents a day from the priesthood. P6000 per month from the New Vatican state as it’s prime deity. To back it up- for NATO not to have a hard time timewise - Salaries from my banking businesses worldwide as bank owner (110)- 1.2M euro each per month and as law firm owner & accounting firm owner (110) - Dentons (Swiss international law firm)/SGV & co. (Filipino world class accounting firm)/Deloitte (French accounting firm)/Grant Thornton) a. Credit suisse b. UBS c. Sarasin d. Mirabaud group e. Migros group f. Banque Cantonale de Geneve g. Banque Cantonale de Vaudoise h. Vontobel I. Swiss National government bank j.Julius Baer Group k.EFG international l.Pictet Group m.Lombard Odier n.Intessa San Paolo 0. BMP p. CDP Italy q. Sella bank r. PostFinance s. Habib bank (Swiss) - not Muslim! t. Revolut (France) u. Unicredit- (France) v. Chinabank (Capitol commons branch) w. Security bank (Capitol commons) X. BDO (Rockwell the Grove & Silver city pasig & main branch in Makati & BDO corporate center) y. Eastwest bank z. Landbank UP diliman - z1. AUB (Asia United bank) - Ortigas center z2. Lloyd’s of London z3. Barclay’s bank z4. PSbank z5. Metrobank (tiendesitas area & main near San Miguel ave. Ortigas center) z6. BNP Paribas (Italy) z7. Mendiolanum (Italy) z8. Banco Al veneto centrale (Italy) z9. HSBC (UK) z10. Standard chartered bank (UK) z11. Harrod’s bank (UK) z12. Bank of America (USA) z13. Bank of Tennesee (USA) z14. Washington mutual (USA) z15. Citibank group (USA) z16. Goldman Sachs (USA) z17. Wells Fargo (USA) z18. TRB (USA) z19. Desjardins of Canada z20. Royal bank of Canada z21. Bank of England z22. Scotiabank z23. TDbank z24. ANZ z25. Philippine National Bank (PNB) z26. Unilever z27. Coca Cola company z28. Unionbank z29. RCBC z30. Philtrust bank z31. Chase z32. Morgan Stanley z33. Carnegie Mellon bank z34. New York stock exchange z35. Hong Kong stock exchanges z36. Mainland China stock exchanges z37. Swiss stock exchange z38. Italian stock exchange z39. British stock exchange z40. NASA z41. X or Twitter z42. Tumblr z43.APPLE z44. European space academy z45. Various military schools- MILAC (premier Swiss military school) & Royal academy of sandhurst (United Kingdom) & Karlberg military academy (Sweden) & premier Belgium military school (Belgium) & Benedictine military school (Kansas, USA), premier California military school (San Luis obispo), westpoint (Virginia). Premier Italian military school (Naples) - Yale standard/ non - Yale standard (UST working level style) (Naples). St. Cyr military school (France). Z46. Hewlett-Packard z47. H and M & ikea & swedabank z48. Louis Vuitton/Harrod’s/Chanel/balenciaga/van cleef arpels/Cartier/Tiffany’s/bulgari/ z49. SM z50. Microsoft z51. Warner brothers/Weinstein company/MGM/Marvel comics z52.EPSON z53. Union bancaire privee (UBP Switzerland) z54. Banque Luxembourg z55. 7-11 z56. UERM & Veterans bank & Phoenix oil, our lady of Lourdes hospital, Philippine law school, Arellano law school. z57.General Motors Z58. McDo Z59. Swiss broadcasting corp. Z60. Vatican News z61. Keystone SDA (Swiss media) z62. BBC worldwide per country z63. SpaceX (USA) z64. Bucca de Beppo Italian restaurant Z65. Marugame Udon z66. Asakusa z67. Tartufo z68. RPN 9 z69. UST law school z70. GMA 7 3. 1 small car - Chevrolet mini hatchback 🚗. British Mini cooper (not more than P1.5M in value)- green in color or black in color

[senzacaponecoda]

Some fun things about minimalism after just two weeks:

Everything you hate about chomsky syntax? you probably hate about principles and parameters, not minimalism

It starts from the bottom (merging) instead of the top (applying rules or branching). I wanted this when I was thinking about my grammars

The tree structure is an artifact of merging and doesn’t really “exist”. You could propose alternative tree structures and make basically the same thing, the logic is the same.

Some problems I have:

I don’t get why adpositions are [-N,-V] (rather, [ , ]) but we’re apparently not going to bother with this for a while

Number systems make some sense. A null feature is an unmarked feature, only marked features get indicators. So, English has [ , PL]. Singulars are unmarked, plurals are marked. Classical Arabic has [SG, PL]. So [ , ] are the collective nouns in Arabic (they exist), [PL] of course are plurals, [SG] are marked - this is why the broken plural is so common! neat prediction! - and [SG,PL] can exist.

Arabic is fusional, but Hopi has a similar number system to Arabic:

So the argument is the dual is [SG,PL]

My issue, then, is what about collective/singulative languages, like the Nubian or Nilotic languages?

You’d think it would be straight forward. They have [SG, ]. So singulatives are [SG], collectives are [], like what I said about Arabic above.

But they usually also have highly marked pluratives (unpredictable suffixes that also induce tone changes), plurals of individuals which acts differently than the collective. And there are systems of nouns and usually the 1 and 2 pronouns that end up with a singular and marked plural. So maybe you have [SGV, SG, PL, Ø]? Singular [SG], Plural [PL], Collective [], Singulative [SGV], Plurative [SGV, PL], but I don’t think I’ve ever seen a dual in these. I’m also not sure how [SGV, SG] would play out? An ‘atomic’ number, like counting an invariant unit (moles, meters) vs a variant unit (e.g. apples)?

[janeyarch]

Longing for Home

I just came from home for a vacation and I feel so homesick. Along with some facts about me, I am sharing to you my reflection as I long for home.

6 years ago, I first arrived in Manila for a board exam. I am a non-practicing CPA, by the way. The license reminds me of my parents’ sacrifices, which is why I work hard to renew it.

5 memorable firsts in Manila:

   (1)seeing flood reach knee-deep levels

   (2)riding a train

   (3)getting lost and asking strangers for directions. But as instructed then, I only asked help from guards (for safety).

   (4)shopping at Divisoria.

   (5)speaking straight Tagalog for more than 1 sentence. Bisaya is my native language. I still get confused even until now.

4 years living independently away from my parents' comfort. I flew alone with no job offer then. It was a major decision which I never regretted and which I will forever be grateful for.

3 different residences. I first lived in a 1-bedroom apartment with 5 other girls then I moved to a 2-bedroom condo with my sister and 1 other lady. Now, I am living at a dorm that is a 15-min walk away to/from Net Lima. 

2 companies in Metro Manila. I came from SGV as an IT auditor before moving to Coke.

1 hometown I always look forward to -- Dauin, Negros Oriental. It is a town 16-km away from Dumaguete. Our house is near the beach (10-min walk away) and the mountain (1-hr ride away). We used to swim in the ocean during weekends and at natural hot springs in the mountain during occasions.

Reminiscing these things, I cannot help but wonder where I truly belong and where my path ultimately lies. I even feel like I do not belong anywhere. I miss the “chill” province life but I do not see myself working/living there in the long run.

I remember one of the preachings at church about sojourners. Sojourner simply means someone who lives away from home, like Abraham. When Abraham entered the Promised Land, he did so as “a sojourner and foreigner” (Genesis 23:4). Abraham experienced moving from place to place and living in tents. He obeyed and went even though he did not know where he was going. But he held on to God's promise and was looking for the city whose architect and builder was God (Hebrews 11:9).

As for me, I do not know how long I will live at the new dorm, nor the length of my stay at Coke, nor my time left here on earth. However, I believe that I am called for an adventure and that God has prepared "a city" for me - the home that I deeply long for.

"Instead, they were longing for a better country—a heavenly one. Therefore God is not ashamed to be called their God, for he has prepared a city for them.” - Hebrews‬ ‭11:16‬ ‭NIV‬‬