- •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
Wiping on varnish
You should brush on a sealer coat first. Make the sealer by thinning one part varnish with two parts of high-quality mineral spirits or turpentine. Use the sealer liberally. Let it soak in for about a minute and remove the residue with a clean cloth. After 24 hours of drying you're ready to wipe on the varnish.
Virtually any varnish can be applied with a cloth. Just thin it to a 50/50 mixture with high-quality mineral spirits or turpentine. Pour it into a shallow pan. Make a small pad of cotton cloth filled with cheesecloth and tie it together with a rubber band. Dip the pad into the varnish and tap it to the sides of the pan lightly so that nothing is dripping off the cloth. Apply the finish in a circular motion and work quickly because the thin layers dry rapidly. Finish with light strokes with the grain. Let the surface dry overnight. Apply the next coats in the same way. Four coats should be the minimum.
Before leveling the finish with 600-grit wet-or-dry sandpaper the final coat should be left to dry for 48 hours.
Polish the surface with 0000 steel wool. When it has a dull sheen lubricate the steel wool with mineral oil and rottenstone and rub the surface for several minutes. Remove the grease with a clean cloth and you're done.
Varnish
Varnish is difficult to spray and is therefore mostly applied by brush. It is far more durable than a pure oil finish. Bar-room tables, for instance, are varnish-finished. Varnish is basically oil that has been cooked with natural resins such as rosin, amber or copal. Depending on the oil-to-resin ratio the results will be harder or softer. This is how, for example, violin varnish is produced. Nowadays polyurethane is commonly used in place of natural resins. Varnish also cures coat by coat and does not bond with coats applied underneath. Since it takes a long time to cure, an absolutely dust-free environment is essential. There are special brushes with bristles forming a tapered, chisel-edged end which are particularly suited for applying varnish.
In Austria, where varnish is virtually unknown, there was none the less a product called “Bernsteinlack” (Bernstein = amber) produced by the company Auro available (1). Unfortunately this product was discontinued in the meantime.
Use turpentine for thinning natural resin varnishes. Mineral spirits, which are made from petroleum, are often not even suitable for cleaning brushes.
All coats of varnish, apart from the first, should be applied v-e- e-ry slowly and should rather flow off the brush than actually be brushed on. If you are interested in a video demonstration of how to correctly apply varnish, I can recommend the video by Jeff Jewitt. Details can be found in the literature section.
By thinning varnish with mineral spirits or turpentine you get what is called “wiping varnish”, which is easy to apply with a cloth.
Wiped-on varnish
Instead of using a brush you can also wipe varnish on just like the oil finishes described previously. Because wiped-on varnish layers are thinner and dry quicker than brushed-on layers dust has less chance to adhere. Wiped-on finishes show less application marks which are easier to remove when being polished. Another advantage is that you have more control over the final thickness. Finishes should not be thicker than neccessary with musical instruments. Because varnish coats protect better than oil finishes I would recommend it for finishing a neck.
My favorate finishing choice
If you are looking for a good, durable finish that is easy to apply without special equipment, I would recommend Danish Oil for the body and wiped-on varnish for the neck.
