JazzBass

Although I'm a relative newcomer to leather crafting, I'm a professional musician who's been playing since age 9 - I'm 56 now. =:O Preface all of the following with "Unless your client insists" , of course. 1. Use a soft, SMOOTH liner (back), whether it's pig, calf, doe, etc. Never use suede, or any "rough-out" material. a) even those who don't jump around on stage, need it to move SOME, without noticeably sticking to clothing. It's common to pull the neck a bit towards you when playing in the lower range, and allow it to come forward when playing on the higher end of the neck. b)- The suits/tuxedos I often wear, cost a lot more than the strap. Keeping abrasion to a minimum is a rather good idea. 2. NOBODY that I've EVER known in the business, likes the "slot" type of adjustment system. I have no idea how or why this became "standard", but it just plain SUCKS! Some folks use buckles for adjustment, but the problem here isn't when it's being worn - when you pick it up, put it on, or take it off, that buckle can bang against the instrument. NO! Sure, we could try to invent a better system for adjustment, BUT - because my two electric basses (fretted and fretless) are nominally identical, I haven't needed to adjust a strap in over 30 years! We're talking "custom" here, right? Why not just get it right from the get-go? The one I'm making now will have 2 holes on the tail (bottom) side - one for standing, and one for sitting, to keep the strap from falling from the shoulder when it's not holding the weight. A few inches of the tail will hang while sitting. Big deal. Different guitars/basses? Well...there's no time to readjust on stage. A different strap IS the ONLY practical option, adjustable or not. IMHO, measure it, make it, and leave it alone!! A "non-adjustable", custom measured strap IS the best way to go for professionals who want a custom strap. "Adjustable" straps should be reserved for "stock" items. 3. Stitching - It seems (and please feel to correct/disagree) that stitch length and thread size are most often chosen based on how it looks on the front. Sure, that's always a consideration, BUT - a chunky thread will will create "wear channels" on whatever clothing is being worn. Consider either using a fairly fine thread, or a recess groove on the back side to lessen wear to clothing. Again, it's cheaper to restitch, than to buy another suit jacket because your strap wore it out prematurely. 4. Shoulder pads and internal padding - No, no, NO! A wide shoulder pad on a thinner strap (like we see on many luggage shoulder straps), STINKS!. You're constantly moving it to keep it in the "right" spot, as the instrument moves while played. Internal padding is NOT necessary, and as it compresses, it makes the guitar want to "stick" to that spot. It must be able to move some, and, as I said, having the thinner strap sliding through a shoulder pad is a bad solution to what should be a non-existent problem. 5. Stiffness - Most "favorite" straps will be soft and supple. Realistically though, if we're doing a fully tooled veg-tan strap, it's going to be relatively stiff when new. Consider a "pre-break-in", by pulling and stretching the strap back and forth around a pole or pipe, to make it a bit more flexible when new. Yes, this could mess with your finish or tooling, but that will happen eventually as it softens in use. The best solution may be to pre-stretch and soften, prior to tooling and finishing, but I'll leave that to the leather experts, as I'm an amateur. Any thoughts on this would be GREATLY appreciated. The softer, the better! 6. Strap Locks, or not? This one IS something that the client should indeed choose for themselves. Some do complain about a strap being difficult to affix or remove, especially when new. Strap locks do allow one to have a relatively stiff strap and put it on and off with the push of a button. Personally, I don't use/need them - some folks won't do without them. Either is fine, and as long as it won't slip off while playing, neither is superior IMO.

Thanks, @Rhale - that's what I'm looking for - true artists of whom I am not YET aware

Given all the consummate professionals that take time to post and respond in these forums--- Who are YOUR "heroes" that are living and working today? ...those whose work MUST be seen/emulated? As a newcomer, I've been most influenced by (in no particular order...couldn't "rank" them if I tried, as some have completely different specialties)-- Nigel Armitage, Ian Atkinson, Harry Rogers, Don Gonzales, Bruce Cheaney, Sam Andrews, and a few others. I know the list will be long, but - Who are YOUR heroes??

Yes , it makes a lot of sense. I was hoping for an "inside" trick, but once again, it seems that experience is the key to predictable results. And yes...Don's videos are marvelous. His suggested "exercises" with the swivel knife were the best I'd seen. His work is magnificent.

I really like the different radii on each side. Nice option.

I too, have also found that after the "wipe off" phase, (and touch-ups), and being happy with the result, that the first top coat over well dried antiquing, that both Resoline, Tan Kote or other finishes has a solvent effect, changing the final look. Sometimes good, sometimes not. Does anyone know of a way of "freezing" the color/antiquing? Maybe a light spray of Saddle Lac or something before the Resoline finish coat?? Any ideas in this regard would certainly help both @2SSophie and myself. Thanks.

Beautiful work, and a very unique, multi-border. Great job! What weights did you use for the holster, belt, and lining? I noticed the lighter inside thread as well- Nice! The overall result is stunning!

Free key fobs - Ah-HA! That's one way to get a little "revenge", and get people to look at your work, instead of the hack at the end of the aisle...I like it! LOL!

I FULLY understand the frustrations expressed here. If you think it's bad in the leather business, try the music business. There are countless hacks, frauds, and amateurs, that are actually ACCEPTED by much of the public as "good". Meanwhile, I'm expected to work for what I made 30 years ago - prices in the restaurants have risen steadily, while musicians are supposed to be happy with whatever they wish to pay . HOWEVER --- Relative to "craft shows" and the like, you have one HUGE advantage - side by side comparison. I've always believed that if what is routinely accepted as "good" is shown side by side with something that really is, that average people will see the difference. No, they can't say why it's good, but they'll certainly know which is better. IMHO, the only thing to do is what you, yourself, can control. Do your best work, and price it accordingly. Sure, we can joke about selling hot dogs, but it's hardly the labor of love that results in a high expression of art. As hard as it is, try not to get wrapped up in either the amateurs who undercut you, or those who ask similar prices for inferior work. Don't let amateurs dictate how you run YOUR business. Believe in yourself, and the work that you do. No, it's never easy. ...or go buy that hot dog wagon

Thanks @Rockoboy...that's exactly what I did! Those tight curves did indeed turn out to be great practice - and fun to do!

@NVLeatherWorx Thanks for the great advice. I have and do practice, having found "my" preferred method from studying both Nigel and Ian's videos. Funny - I initially thought that hand stitching would be a real chore, being a slow, repetitive process, yet I find it quite relaxing. I put the radio on, and before I know it, several hours flip by. I intend to use Tiger thread, but haven't decided on the thickness. I've ordered several small spools in .6, .8, and 1.0, and will try each with the double stitched border that I'm planning. I'll experiment with SPI as well, as it seems that stitch length really effects which thickness looks best. In any case, I'm just going to "go for it", try to chuckle at my mistakes, and carry on. I also have some JJ needles on order, as I realized from other posts that my difficulty (need for pliers) is probably because of what folks call "big eye" needles from Tandy. Little by little, I'm learning from all of you nice folks. Thanks also to @alpha2 - hey, I'm no spring chicken either ! LOL.

Sure doesn't look like a "beginner" to me, and I've got plenty of items of my own to prove it Great Job!

Oh... ...and "suspender holsters" WERE used in the "old west"

Yes...I have heard of holsters with Kydex between the front/back layers of leather, but again, it probably takes some special techniques because the melting temp of KD is such that you wouldn't want to put the whole holster in the oven to form it. And yes, unless you use a "hip plate" which is simply held tight by the belt instead of a standard belt loop or slots, that belt might allow it to flop around. no matter how stiff you make the shank. I gotta laugh when I hear that this is to be an "EDC" , but it's an interesting and challenging project nonetheless. Below are a few pics of the hip plate on my Alphonso #1. You could do something similar but I can think of one more option that might be ideal for that size gun - Have you seen "cross chest" holsters? They have a shoulder strap that goes straight up from the balance point of the gun/holster, over the left shoulder, and a strap that goes around the back which attaches somewhere behind the trigger guard and the opposite (muzzle side) lateral position. It would be infinitely easier to make than the hard-lining type, and would be a hell of a lot more comfortable....ah, but it's up to the client, right? There's one example below - you can see how easy it would be to adjust it to sit in a more hip mounted x-draw. Yep...I'd go with the shoulder strap (like a "suspender"), and think of having the waist belt itself be the "behind the back strap." Problems solved - if the client would accept it. Good luck...I GOTTA see this EDC rig when finished! ROFL Think "standard x- draw with belt tunnel, but give him a detachable suspender if needed/desired. That might just be the ticket for this one. MUCH easier to do than anything else we've discussed, and probably a better design solution as well. BTW, 15deg is pretty darn shallow for a cross draw. IMHO. I'd be thinking 30deg and possibly more. Ah...but then, there's the client. Chris Gordan

Ditto, @Sheilajeanne- I do have a stitching pony, but hadn't thought of affixing magnets to a convenient spot to hold needles. Excellent! Wow...been here 2 days, and I've been soaking in the knowledge of all you good folks. Gee, I must be in the right place! Lots of serious pros, and just plain nice people. Gotta love it! Again, thanks to all. Chris

Wow...beautiful work, sir!

Thanks @Matt S and @billybopp I hadn't heard about dye pickup before, but it makes sense. I will be using synthetic, but it's still a tough choice, as I've never tried to work with that much thread at one time. I guess that with splices, part of it is strategically planning the placement. I was thinking of a double stitch of fairly fine (0.6) thread at about 7spi, for the extra "practice". I'll give it some thought. Thanks again, guys!

Forgive the amateur question. I'm about to do my first lined and stitched, instead of plain, belt (a guitar strap, actually- no matter). Here's my question: It takes 4x or more thread than the length to be stitched. When stitching a belt, what is the common practice - does one actually deal with, say, 30 feet of thread between the needles, or is it done in manageable lengths, continuing by restarting back one stitch (as with a broken thread)? I'm guessing the latter - but if so, how "invisible" is the "restart", and are there any special tips in that regard?

Impressive work ! ... and no, you'll have no trouble selling it

I'm no expert, but it looks like airbrushing prior to stitching - unless I'm not seeing the exact thing to which you are referring.

Funny, I do use Irfanview on my desktop, but assumed that iPhoto would have a mechanism to do this on my laptop or iPhone. I'll look to see if Irfanview is available for mac. Thanks

Thanks Gary. Learned it on YouTube LOL! It was called a "faux frog skin". Some say "pebble" texture. There's a trick to it, but it's easy - 3 seeders - start by running the largest ones in tight, meandering and criss-crossing lines. Fill in all the spaces you can with the mid sized, then the remaining space with the smallest. Now the trick--- RE-stamp all the big ones - they can get distorted by the ones around them, and "dome-ing" them back up gives that effect. It's easy, and it goes a lot faster than expected for so many impressions, since it's a random pattern.

Just figured out how to shrink/post images. I've got a LONG way to go, but I'm enjoying every step!

Got it--- had to email the pic to myself, letting the mail app shrink it. Doh!!

I wanted to post a pic or two with my introduction, but - How do I reduce the size of the image (2.7MB) in Iphoto, to make it uploadable? ...geez...my first question isn't leather related. Mac's help was no help. <<groan>> Mea Culpa.