- •PREPARATION
- •General introduction
- •Parts of an electric guitar
- •String frequencies
- •Guitar classics
- •Wood
- •Wood for solid-body guitars
- •Sound characteristics
- •Buying wood
- •Drying wood
- •Hardware
- •Tuners
- •Nuts
- •Bolt-on neck hardware
- •Pickguards
- •Fretwire
- •Bridges
- •Tremolos
- •Other hardware parts needed
- •Strings
- •Guitar electronics
- •Pickups
- •Making your own pickups
- •Magnets
- •Pickup bobbins
- •Wire
- •Strat-style singlecoil bobbin flanges
- •Dimensions of a typical Humbucker
- •Pickup covers
- •Winding pickups
- •Potting pickups
- •Passive circuits
- •Classic circuits
- •Active electronics
- •Shielding
- •Designing the Guitar
- •Scale length
- •Calculating fret distances
- •Laying out the guitar
- •Design options
- •Truss rods
- •Non-adjustable truss rods
- •Adjustable truss rods
- •Some effects on sound
- •Sustain
- •Design examples
- •Making templates
- •Workshop
- •Tools
- •Power tools
- •Plunge router
- •Router bits
- •Planes
- •Scrapers
- •Sawing tools
- •Sanding tools
- •Japanese Tools
- •Sharpening
- •Alternatives for sharpening
- •Safety
- •BUILDING
- •Making the body
- •Making a solid body
- •Preparing the body blank
- •Gluing up the body blank
- •Cutting out the body
- •Smoothing the body side
- •Sanding the body
- •Rounding off the edges
- •Making a hollow body
- •Hollowing out the body
- •Making the top
- •Gluing on the top
- •Binding
- •Making a semi-acoustic body
- •Bending the sides
- •Gluing the sides to the block
- •Making the lining
- •Gluing on the lining
- •Gluing on the top and back
- •Routing the binding rabbet
- •Making f-holes
- •Making the neck pocket
- •Making the neck
- •Making a glued-on peghead
- •Preparing the neck blank
- •Options for making a angled-back head
- •Making Trussrods
- •Making a one-way twin-rod system
- •Making a compression truss rod
- •Making the trussrod channel
- •Cutting a straight truss rod channel
- •Making a curved truss rod channel
- •Making the access cavity
- •Gluing up a heel
- •Fitting the truss rod
- •Fitting a truss rod into a one-piece neck
- •Fitting a two-way twin truss rod
- •Fitting the truss rod cover strip
- •Making the peghead
- •Gluing on the peghead veneer
- •Sawing out the peghead shape
- •Fitting a peghead inlay
- •Making the fingerboard
- •Marking the fret positions
- •Making the fret slots
- •Gluing on the fingerboard
- •Routing the neck shape
- •Drilling the tuner holes
- •Shaping a Fender-style peghead
- •Fitting fingerboard dots
- •Fitting side dot markers
- •Radiusing the fingerboard
- •Installing the frets
- •Bending fretwire
- •Fretting
- •Shaping the neck
- •Fitting the neck
- •Routing the neck pocket
- •Mounting an angled-back neck
- •Bolting on the neck
- •Positioning the bridge
- •Fitting a tremolo
- •Making the body cavities
- •Routing the pickup cavities
- •Routing the control cavity
- •Assembling the guitar
- •Mounting the hardware
- •Wiring the electronics
- •Shielding the electronics
- •Preparing for finishing
- •Repairing dents
- •Finish-sanding
- •Staining
- •Filling the grain
- •Finishing
- •Applying oil
- •Applying wax
- •Shellac
- •Synthetic finishing materials
- •Coloring clear finishes
- •Using a brush
- •Varnish
- •Wiped-on varnish
- •My favorate finishing choice
- •Spray finishing
- •Using spray cans
- •Using a spray gun
- •Sanding the finish
- •Several weeks later
- •Polishing the finish
- •Fret dressing
- •Stringing the guitar
- •Tuning
- •Adjusting the neck relief
- •Setting the string height at the nut
- •Setting the action
- •Adjusting the pickup height
- •Setting the intonation
- •Your self-made guitar
- •Straight-through neck
- •Making a neck-through headless bass
- •A VISIT TO ...
- •Steve Jarman guitars
- •Sadowsky guitars
- •PRS guitars
- •Literature
- •Suppliers
- •Suppliers mentioned in the book
- •Additional instruction materials
- •Acknowledgements
1
Depth |
stop |
|
2
be the fastest way - with a bandsaw (1). Draw a line on the table of the saw to help you get equal distances (about 6mm / 1/4") between the cuts. A depth stop ensures a small web (0.4mm / 1/ 64") is left behind the cut. Finished strips, so called kerfed lining, can also be bought. As for which wood to use I would recommend mahogany, alder or spruce. The number of strips needed depends on the body circumference: twice its length will be needed.
3 |
Gluing on the lining |
|
|
4 |
Spread the glue with your fingers evenly all across the back of the |
|
|
|
lining and glue it on with the help of spring clamps (2). Normally, |
|
the glue is spread on the web side of the kerfed lining, but some |
|
guitarmakers glue on the strips with the kerfs facing the sides, |
|
which gives them more stability. Check the position of the lining |
|
in relation to the edge with one finger (3); it may be slightly |
|
higher but must never be lower than the side edge. About 25 |
|
spring clamps are sufficient for gluing on the lining on one half |
|
of the body. Since ordinary clothespins do not give enough |
|
tension for this purpose, you will additionally need elastic bands |
|
to get the right amount of tension. Proceed similarly now with all |
|
the remaining strips until the whole body is done. The spring |
|
clamps and any excess glue that may have been squeezed out |
|
can be removed after about 30 minutes. |
|
Since the guitar is to have a domed top and bottom the body |
|
will be slightly higher in the middle than at the edges and will |
|
therefore be unstable when lying on the table. To put it into a |
|
stable position I cut strips in the right thickness from cork and |
|
fasten them around the edges (4). It should be possible to find |
|
the cork with the right thickness for your needs (I use 6mm-thick |
5 |
cork strips). It is essential that the body is in a stable position |
when the top and the bottom are glued on. |
Using sandpaper over a shaped block the lining is then sanded flush with the sides and the ends of the sustain block (5).
Gluing on the top and back
Gluing on the top and the back is made easier by using a workboard in the shape of the body. The best and least expensive method of gluing on a domed top and bottom is to use a rubber strip - the inner tube of an old car tyre would be ideal for this purpose. Cut it with scissors into a 5cm (2")-wide strip; by cutting round and round until the tube is used up you will get a strip several times longer than the circumference of the tube. Normally, a strip thus cut from a car tyre tube will be long enough, but if an even longer strip should be needed, you can also tie together two strips. If you cannot get a car tyre tube, you can also use the inner tube of truck tyres (check the Yellow Pages for truck repair shops). These are much stronger, so you will need to cut a slightly less wide strip from it. Before you start gluing on the top and bottom of the body I strongly recommend that you practice every single step of work beforehand. Only when no more problems are foreseeable must glue be applied on the lining and the surface of the sustain block. The glue should be put on evenly thick and in the middle of the lining; do not spread it with your fingers.
Then place the back - which, as you will remember, has been cut out 3mm to 5mm larger than the desired body size - onto the side lining and fix it on both ends of the body with two clamps and cauls. Hammering in two small nails in the area where the neck or the bridge will be fastened later or in the pickup cavity area helps to keep everything in place. Make sure that the center line really ends up in the center. Next put the rubber strip around the waist, tie it together at the bottom, pull it firmly upwards and put it across the lower part of the body. The first “layer” should be placed right next to the clamp, and not as shown in picture 6. Then pull the strip firmly downwards, pass it back under the workboard, pull it upwards again next to the first layer and place it so that it crosses the first layer. After that continue in the same manner (pulling the strip downwards, etc.) until all of the lower part of the body is wrapped up.
Paper clips
Paper clips can be bought at any stationer's. They come in different sizes and are normally used for holding together sheets of paper. But they also come in quite handy in guitarbuilding, serving the same purpose as the more expensive spring clamps; even large guitar manufacturers such as Yamaha use them. By buying such clips in bulk you should be able to get a better price although they are quite cheap anyway.
→
Please do it better and place the first winding right next to the clamp!
6
1
Using clamps
If you use clamps for gluing on the back make a narrow guitar-shaped clamping caul like shown above.
Proceed similarly with the upper part of the body until its edge too is firmly pressed down by several layers of rubber strip (1). When pulling the strip upand downwards it should be well stretched. The strip can be twisted on the bottom side, but on the top it has to lie really flat on the body. After a few final layers have been wrapped around the waist the rubber strip is tied up and the body left to dry overnight. The bottom should not protrude too far over the sides as it might otherwise break under the pressure.
When the glued joint is dry, remove the cork edge supports from the linings and attach them to the edge of the already- glued-on back. After that the top is glued on in the same way as the back.
Cutting the projections of the top and back flush is best done with a flush-trimming bit with end-mounted ball bearing (2). Depending on how much needs to be routed off several passes may be required to prevent the splintering-off of pieces of wood. Since the router bit cannot be guided parallel to the sides - the router is always at an angle because of the domed body - the top and the back won't be routed completely flush with the sides. This does not matter, however, as we will take care of that when we rout the rabbet for the lining.
Routing the binding rabbet
Routing the rabbet for the lining is not as easy on a domed-top as on a flat-top guitar, as the router bit cannot be guided parallel to the sides of the body. A stable set-up is obtained by placing two self-made spool clamps on the edge of the body and by using a shim around the bit on the router table as shown in the figure below. This should make it possible to rout the rabbet evenly. I also needed 6mm-thick shims for this job. Note, however, that this method only works with bodies that are the same height all around their edge, as semi-acoustic guitars are. If the height of the side of your electric guitar varies around the edge, the router is best guided independent of the body and moved up and down on a vertical slide bar.
Make the clamp from two wooden wheels, a long bolt and a wing nut
2
Glue the binding to the body as described above. Remember that a wooden binding has to be bent first. Use wood glue for gluing on a wooden binding.
Making f-holes
F-holes can be cut out with a coping saw before the top is glued on (3), but as already described in the section on hollow-body guitars they can also be cut out with a small router bit, using a template and a template guide (4). Tweezers and a vacuum cleaner will be useful for cleaning up the inside of the body.
Making the neck pocket
The neck pocket that will take the neck can be routed like that of a solid-body guitar. This will be explained in more detail in the section on fitting the neck. The neck is traditionally glued in, but it is equally well possible to bolt it on. Due to the height of bridges normally used on domed-top guitars the neck inevitably needs to be angled back. As the body is domed, a curved shim has to be used to hold the neck pocket template at an angle and in a stable position. For bolting on the neck you need neck attachment ferrules. Pots and switches are best fitted through the pickup openings. Threadening pots in by using a string fastened at a tiny hole in the pot shaft may sometimes be necessary.
3
4
Cutting the rabbet by hand
Traditionally, hand tools are used for cutting rabbets.With a purfling cutter (the one shown in picture on the left was designed by Irving Sloane) you can mark and cut a rabbet even on a domed-top body. The distance between the knifeblade and the guide pin can be infinitely varied by means of two allen screws. As the guide pin of the tool is guided along the side of the body, the domed top doesn't cause any problems.With each pass the knife cuts deeper. This is repeated on the sides of the body before the rabbet is chiseled out. Use a sharp chisel for that. It goes without saying that a lot of patience and skill is required for this kind of work, but there are also instrument builders who do not need any power tool for this job.
