I think I might have turned another corner on my woodworker journey. There have been more than a couple skeletons in my closet and I like many other beginning woodworkers tend to dread finish prep and finishing stages of their project. I had worked a bit more on my neck and noticed that I had some pretty big scratches to address so I procrastinated. Sunday I decided it was time enough and went to work.
I have made great use of my heavy Record metal vise by adding these lovely magnetic rubber chucks. I found that it holds my neck securely without any damage whatsoever. They look like this although mine are orange not green.
Applying three basic concepts I was able work through the neck prep in a reasonable amount of time. These were 1) have a range of grits of high quality sand paper 2) start at the highest grit which is appropriate but not too high 3) use low angle lighting (raking light) to see scratches. Starting with too fine a grit will take forever to remove large scratches so don’t “mess” up a nice finish by starting too low but also don’t be afraid to step down if the grit isn’t effective. Even after I had moved to a finer grit I would pull out the coarser one to work a small area if it was needed. Being able to see the surface with the raking light and having high quality papers made this work go surprisingly smoothly.
It was on to body preparation. The body was mostly sanded but it did (unfortunately) have a fair amount of road rash. For the dings I pulled out my clothes iron and a wet rag. One of the punctures disappeared after this trick. Another one was much better and much harder to find. A third ding on the back still needed some work.
There were areas on the edge of the body that looked fine but I could feel imperfections with my finger tip so I put a fresh edge on a card scraper and went to work. A trick I remembered almost by accident is to wet edge grain before paring and this works especially well when using the scraper.
I have given great thought to how to finish this black limba body and basically I wanted to do as little as possible and let the natural figure shine. Limba is quite porous however so I did want to fill but without adding color. I was hoping for a clear filler and I was not disappointed with Aqua Clear. I learned about it from a Robbie O’Brien Luthier Tips du Jour video and decided to give it a try.
Easy to apply, dries quickly and results in a stunning surface. I love the product thus far! I am not an expert but I have used Timbermate and this was a lot easier and less messy to apply.
The neck will be getting multiple coats of TruOil over the next week or so and I’ll be spraying General Finishes “High Performance Top Coat” water-borne finish on the body.
What do you think, will I ever finish this first guitar?
I think I have mentioned this before but I’d like to reinforce the fact that it well worth it to purchase CNC/laser cut templates, especially if you are new building. It really can save a lot of time and potentially make your work much neater. I chose to make my own using paper patterns, existing parts and by eye. I was partially successful learning along the way. It is difficult to explain just how challenging it is to not only use tools and jigs for the first time but also knowing that it has to be “just so” or it won’t play properly. As I figure out work holding, jigs and templates I fully expect the precision of my work to improve. Having said all that, “If you don’t go, you’ll never know!”
Where to start you ask?
It seemed appropriate to me to start with the neck as I couldn’t locate the bridge without first making sure of the scale length. In order to make a neck pocket routing template I relied on two resources 1) Online Electric Guitar Building – Class offered by O’Brien Guitars and 2) Project Electric Guitar – How To Carve a Neck Pocket. Having previously watched both of these I blindly began working in my shop only to realize that I had absolutely no idea what I was really doing. The first neck pocket routing session was a complete bust. Regrouping, I decided to watch the videos again and this time I really paid attention. Now I was getting somewhere and once I got a handle on using some straight pieces to form the pocket template I was ready to route.
I had previously made a longer Plexiglas base for my Bosch Colt trim router which I really like using for the guitar. The downside is that I don’t have the plunge base which has made it iffy getting precise depths of cut. For this maneuver I was super nervous and checked all my settings several times before starting.
I didn’t put any tape on the inside of the template to snug the fit but it probably isn’t a bad idea to do so in the future. When I tested the purchased (Might Might) neck it fit but a little loose in the pocket. My neck however was too big which was exactly what I wanted. I called the route good and fit my neck to the pocket by systematically taking about 20 strokes off each side of the neck base and testing. Process was repeated until the neck was just beginning to fit then I quite before making the fit sloppy! I trimmed off the outer portion of the (cut out) side and rounded it where it began to join the body. This is my first build and I worry about everything but after placing a straight edge down the neck it looks like the neck angle will be good as is without further tweaking.
Pickup and Control Cavity
So this is where things really got crazy. I had already swallowed the pill and committed to making my own templates so I crafted one out of MDF using printed material and actual parts to test fit. It would have been a lot better to just buy an accurate set, just saying.
The actual location of the neck pickup and the control cavity were less critical but the bridge (and thus the bridge pickup) had to be exactly right. That is why I found it critical to get the neck installed first before committing the bridge route.
While routing for the neck pickup I made blunder and hacked out areas that I didn’t mean to route. This error was once again related to accurately controlling the depth of my cut. After making a first pass with the template on, I removed the template and was going to use the lip of the first pass as my guide. This was solid however, I first needed to adjust the depth of my cut because I was lowering the router by 1/2″ (the thickness of the MDF). So far, so good right? Well I ended up raising the bit so much that my bearing was now above the router base and now out of the picture. I was routing unguided and off I went out of my pickup and into the middle of the body. You can see the affected area in this photo although I “cleaned” it up. I suppose I now have a “Smuggler’s Tele”.
For the control cavity I first hogged out most of the waste at the drill press using a Forstner bit. The dilemma here was not drilling through the back of the body. The plans and my existing Tele all indicated that I should cut to depth that was dangerously close to the backside of my instrument. I had little choice but to keep going until certain that my 4-way pickup switch would fit. It’s all the little things that make this whole process a complicated puzzle.
With the cavities routed it was now time to drill the two holes (didn’t need the third one now that I mangled that area). For the first hole between the control cavity and the neck, I pulled out my 1/4″ twist drill bit, angled the drill and drilled through. Easy, no problems at all. For the second between the bridge and the control cavity I had problems. The angle was much steeper and I drilled all the way to the end of my bit without getting through. Humm, I need a longer bit. I could have used my 3/8″ long auger bit but I wanted to stick with 1/4″ so I pulled out a spade bit and went at it. No problems, it was plenty long enough to drill right through the back of my body, missing the control cavity all together. Bollocks! Perhaps it was time to put down the tools for the evening. Lessons learned, you need a very long 1/2″ drill bit and you need to protect the body from contact with the drill and bit.
So my first inlay is actually a patch on my first build. Who know? I started off on the right track but got off a little on the grain match. The match was quite good when I started but by the time I fit the piece I was off a bit. It will for always remind me of the great distance I have come and how far I have yet to go.
That went pretty well so I went ahead and drilled the 3/4″ hole to connect the jack with the control cavity. Pucker-factor = High!
The Tummy and Belly Cuts
On a Tele, sacrilege! Don’t like it, go make your own guitar I say. Personally I wanted the utility of these cuts and I also like the looks of them. Really they are hard to even tell they are there and it makes the guitar feel so much more inviting.
For these I began on the spindle sander, holding the body at an angle. When this proved to be a too slow for my taste I pulled out my StewMac dragon rasps and refined the shape. Once I was happy with the basic shape, I took it back to the sander to even out and refine it.
There is something therapeutic about carving a feeling I don’t yet get while routing.
Now that I had finished all the routing and repaired the body, I could begin fitting parts. First I drilled and bolted on the neck. Reasonably straight and I think the angle will work, check. Next to line-up and drill the 4 screw holes for the bridge.
Looks like the parts are going to fit.
With the bridge mounted it was on to drilling the string through holes and enlarging on the back for string ferrules. Make sure to use a backing board when you drill a through hole, even if you think you are just poking the tip of the brad point bit tip through and even though it’s a tiny 1/8″ hole! Don’t ask me how I know this.
Note to self: Although Black limba is relatively easy to work, it is a very porous wood and has a tendency to tear out along the grain.
That is all that I have gotten done over the long Labor Day weekend. I’ve given thought to making the pick guard and have decided to take the minimalist approach because I really would like to cover up as little of this wood figure as possible. I made the decision to use traditional front routes a long time ago but that doesn’t mean I have to use a traditional pick guard now does it.
Boris Bubbanov, your chopped pick guard is absolutely awesome my Telefied friend! I hope you don’t mind if I borrow your idea on my build, I love it!
Lots to do but at least it’s starting to look like an instrument now……
Welcome back everyone! Of course I’m the one that has been away a while; to France actually for wedding. Now that I’m home I’m desperately trying to find shop time between all the built-up house chores. This project is straight from Project Electric Guitar and there will be many small and large projects from this from this community in the future. To ease myself back into the shop I started with this simple but useful Neck Support Caul build.
Steps in the Build
- Mill up some 3/4″ thick scrap pieces at least 12″ in length
- Laminate the pieces into a block
- Square up the blank using methods at your disposal. I took a short cut and used the jointer on top and bottom surfaces. Should have actually used the planer but they were visibly true enough for my purposes
- Set up a cove cut jig at the table saw. This was the trickiest part and the new skill builder for me. I referred to Matthias Wandel’s – Cove cutting table calculator and pretty much winged it.
- Most difficult part was locating the exact center of my table saw blade. I suggest running a test piece through to see how close you are to center.
- If you don’t nail this and your cove is slightly off-center, you can cut the cove then run the wider edge through the table saw to even up the sides.
- Used PVA glue and cork “shelf lining” to line the cove. Applied clamping pressure to the cork with a piece of foam pool noodle.
- Trued up and smoothed edges on the oscillating belt sander.
- Applied a coat of Teak Oil Finish.
Length: 12″ (or longer for bass neck, etc.)
Thickness: 3/4″ (or thicker if you mill your own stock)
Width: 2 3/4″ (wide enough for the cove with room for an edge)
While I had the cove jig setup I went ahead and ran some 2″x 4″ material through it for future use in jig building/neck clamping.
I could have used these when I was fretting my neck, at least I’ll have them ready for my next build!
You’ve been getting back into the shop with the Turtlecove Builder
The neck building saga continued this past weekend. Out of clamps and with the finger board secured, it was time to make a pass on with the template bit to flush up the finger board to the neck and figure out how to add side fret markers. There was a problem with the latter, I didn’t have any 1/8″ maple dowels to use for dots so I was going to have to make some.
Side Fret Markers
I did have a 1/8″ poplar dowel but I wanted to keep it consistent and use maple. After some minor experimentation I realized it was going to be just a tad tricky making them.
I started by finding a small sheet of mild steel from my junk bin and drilled a 1/8″ hole in it. One would normally facet the blank then pound it through to size it only at 1/8″ faceting wasn’t an option. I ended up riving several narrow strips from off cuts from the maple neck. They were way too big and irregularly shaped so I chucked them up in my hand drill and took them over to the edge sander. With the drill powered, I brought the edge of the piece close to the belt and sanded to slightly over-sized with a narrow taper on the end. I realized that using calipers to gauge the diameter would save me time in the long run. Still hammering such a delicate piece through an 1/8″ hole was a dicey proposition. Fortunately the end that had been held in the drill chuck was beefier allowing a hammering surface and the dowels didn’t need to be very long, I was making fret marker dots so 1/4″ to 1/2″ was plenty long enough as long as they were somewhat round!
Using my best brad point 1/8″ bit I drilled a hole in a test piece to make sure I was going to have a proper fit and was pleased to see that it was perfect. I was ready to set the fence on my drill press table and using the still flat neck back as the reference surface set-up where to drill. I ran a piece of masking tape down the top side of the neck and marked the fret marker locations and made a best guess at setting the drilling depth stop. I wanted them deep enough so as to not sand through them on accident.
Carving the Neck
In a long line of “firsts” this one had me concerned. I had a plan but until I started, I was never going to know what to expect. I must say doing it once has been a great learning experience and will definitely help me a lot on the next one. I started by marking cut lines as a surgeon might do before an operation.
I followed instructions as detailed by David Fletcher during his Stratocaster Build on his YouTube channel. My notes read something like this:
Draw Center-Line (CL) down back of neck Measure 5 mm either side of CL at the 1st fret Measure 10 mm either side of CL at the 12th fret Connect the lines Draw a line down both sides of the neck measured 2/3 of the way up from the bottom Draw a line across 85 mm up from the heal (this will fit in the neck pocket of course) From there draw a point 35 mm up on the CL. Connect lines to from a V To from the volute, extend the curve of the head-stock back toward the CL Complete the volute by connecting that end point the lower side of the head-stock forming a similar angle Begin taking facets leaving plenty of room at head and heal of neck which should be blended in later. The very back of the neck should be left mostly intact if you want a beefy neck. You'll have to figure out the side of heal which angles from the end of the heal line side back towards the head. Middle of the 13th fret (check example)
These instructions along with the Fender authorized replacement neck I purchase as a model/template were invaluable in this learning process. And a learning process it was to be sure.
I began with my StewMac course dragon rasp and began hogging away the first large facet. I was tentative and it was pretty slow going. Later in the process, I pulled out my block plane and spoke shave which I think I use more of in my next build. The first facet on both sides requires quite a bit of material be removed and was slow going even using a course rasp.
I worried a little about the transition areas at the head-stock and heal but actually these areas are fairly straightforward to blend especially given that I had two example Telecaster necks on-hand as a reference. With these area there can be a fair amount of creativity they are predominately cosmetic.
It would also seem that I was not “brutal” enough taking facets for after three “sessions” my neck was and remains very beefy. I finally decided to go with it as it seemed comfortable enough although time will tell if I really like playing a baseball bat or not!?!
So ever onward I figured I would try my hand at adding frets. This is where things got a little wonky. This is my first build and I either don’t have the specialized equipment or I’ve made it myself for the occasion. Such was the case with the fret wire radius bending machine that I made ages ago. This was my first opportunity to use it and I found problems with it. First off the groove is too wide for the fret wire tang which allowed the wire to twist during the bend. Secondly I haven’t calibrated the adjustment so the first time through it was on the most gentle bend which I thought was enough and started cutting frets to length. Only later did I realize that the needed a tighter bend but at that point it was too late to use the machine. Instead I pressed the wire in a vise pulling the wire to arc in the correct direction. This mostly worked but sometimes the wire twisted on me.
I also didn’t have a special fretting hammer so I used a regular medium weight hammer and a block of wood. Results were mixed but it mostly worked. The most difficult frets were due to a) not enough radius b) twist. I did take the advice of one YouTube luthier and ran a triangular modelers’ file through the fret slot to add a slight bevel to both sides of the fret slot opening. This worked well although care must be taken every time a file, saw or rasp is engaged on or near the finger board. I’ll learn.
After installing the 22 frets I cut the excess wire off using a rotary tool with a cutting wheel being careful not to nick my neck. The last bit was to bring the frets flush using my fret bevel 90 then after to 35 degrees. I was like a bull in a china shop and managed to mar the top of some of the frets in the doing. I’ll learn (see above).
I’m finally ready to fit the neck to the body and route for pickups and control cavity.
Are we having fun yet!
This weekend I was focused on the fingerboard. I began on Saturday morning by slotting the Ziricote fingerboard blank on the slotting gear which I had successfully tested late last weekend. The question at hand was how deep to make the fret slots knowing that when I sand the radius into the board, the slots would end up much shallower. I made my best conservative guess and carefully slotted the board without incident. I was careful to lift the sled above the blade and return it “home” before advancing to the next slot pin. Each slot was passed through the blade only once.
I have given great thought to fret markers and inlay in general and have found many alternatives. For this build (my first) I wanted to keep it simple and classy so I used my 1/4″ plug cutter to cut maple dowels from the neck off cuts. I began by running a strip a masking tape down the center of my fingerboard and marking a center-line. Remember it’s always a good practice to measure from your jointed edge. Fret markers for all but the 12th fret could be located by centering between slots. For this I used vernier calipers measuring the span of the slot, dividing by two then resetting my calipers to the half mark. As a check I made a dimple on my center-line from both directions and tapped a small divot with my awl to mark the location. A similar technique was used to find the center of the 12th fret span with each marker being offset equidistant from the center line. The offset I simply took off my purchased Fender neck. Although it isn’t a critical measurement, you must remember that your finger board blank is much, much wider than you neck with ultimately be so you need to keep it somewhat “centered” and on your final work.
For future reference, I transferred the center-line mark to both ends of the finger board blank using a tiny piece of masking tape and pencil.
After an hour or two of curing I taped off the rest of the top surface of the fingerboard (so as not to mar it) and used my flush cut saw to cut the maple dowels reasonably flush to the surface.
Using my 9.5″ radius sanding block and sticky backed sandpaper I began leveling the fret board. To keep my sanding block centered I attached guides on either side of the fret board all of which have been secured to my table saw bed with double-sided tape. The mistake I made was beginning the work with 150 grit paper and after sanding what seemed to be an hour or so, I broke down and switched to 80 grit which quickly did the job. At that point sanding up the grits from 120, 150, 220 and 320 went quickly.
I was making progress on the neck and almost ready to glue on the finger board. Before doing so I need to route access to the end of the truss rod which will lie under the fingerboard just below the nut. I hadn’t done this yet because I uncertain about how I was going to do it but in the end I chucked up a 3/8″ straight bit and routed towards the head stock. I made several passes lowering the router bit time until I was level with the bottom of the truss rod adjustment nut. I also limited travel on the deeper passes leaving a stair stepped effect which I turned into a ramp with my 1/4″ chisel. Using sandpaper around a dowel I smoothed out my work and called it good.
I took this opportunity to sand out the imperfections from where I frightfully thinned the head-stock to 1/2″ leaving all sorts of divots and problems. Sandpaper and a card scraper along wasn’t getting it so I pulled out my StewMac Dragon rasp and went to work removing material. When I was happy with it I used the card scraper and sandpaper to get it right. One of the spots that needed additional work was the transition area just past the nut. This is where the rasp shined. I will need to revisit this area once the finger board is in place.
With the center-line marked on both the neck and the edge of the finger board, I placed a brad on either side of the truss rod one towards the nut and towards the heal for registering the fret board on the neck for glue-up. I didn’t actually have any small brads so I snipped off the legs of some small steel staples I had on hand. Using reasonable wisdom, I tried them on some scraps first. They were tiny and worked perfectly.
Before tapping the pin into the neck I drilled a very shallow 1/8″ pilot hole. My greatest fear was allowing the drill bit to run away and drill all the way through my finger board. That would have been disastrous! I took it very slowly, deepening the recess on the underside of the finger board every so slowly until it would seat onto the face of the neck. It would have been best to not even use a powered drill but I was careful and it worked out this time. Just to bring this point home I did drill right through a test piece before I even knew what happened.
I placed two strips of masking tape on the underside of the fret board so that I could trace the outline of the neck on to the tape making sure the finger board was properly registered using the pins. I then carefully cut just outside the line using my band saw so routing the flush would be straight forward after the glue-up. Before glue-up I applied a strip of blue painter’s tape to either edge of the neck to minimize the impact glue squeeze-out.
Nervous but ready at last I applied two dollops of silicone caulking into the truss rod channel at each end of the truss rod. I inserted the truss rod and wiped away any caulk squeeze out. I then applied blue tape over the truss rod and coated the neck surface with glue, removed the tape and registered the finger board on the pins. Applied cauls and clamps and called it a weekend.
Thanks for following the build.
Although I don’t have a Master to teach me in my shop I sometimes feel like I have learned from Masters through the magic of YouTube. Many (most) of the tricks I employed this weekend were learned from David Fletcher of Fletcher Handcrafted Guitars. His guitars are amazing and if you really want to learn a thing or two about how they are made you absolutely must subscribe to his YouTube channel. Cheers to you David!
The July 4th three-day weekend allowed me some most-excellent quality time in the shop. At long last I am working on my first build and seeing that the previous three years of preparation haven’t been in vain. You saw from last post that I have roughed out the solid body blank and before moving in to any routing I needed to see if I could build my first neck. No doubt there will be some missteps but as with any project, “you don’t know if you don’t go”. Sorry we used to say that when planning exploration in my cave diving days, but it is true in the shop as well. You can read about all you want (a good think I might add) but you are never going to produce any work unless you get into your shop.
Unless you are a martyr for punishment (as I apparently am) I highly recommend you buy a set of high quality templates for your builds. I will very likely do this for future builds but for my first, I’m using multiple drawings which I have collected from around the web. After doing so, and gathering information from my own guitar and Internet forums it becomes obvious that a Tele, is decidedly not a Tele, is a Tele. There are many variations on a theme historically and even among models currently produced by Fender. This is one reason a laser-cut/CNC template is a great starting point. I on the other hand had to build a template based on what I’ve read and what I can deduce by asking questions like, what are the dimensions of the neck pocket, how long is the neck, how many frets “typically”, etc.. Some things won’t matter for example, the exact thickness of the body, the exact shape, to belly-cut or not to belly-cut, etc. Some things do matter for example, a properly fitting truss rod, straight neck and to a degree, it’s shape. Of course the finger board has to be right and for this I broke down and purchased the Stew-Mac steel slotting template and table saw blade. I couldn’t see spending more money their precision hand slotting jig when I already own a table saw. And before you ask, I did spend a couple of shop sessions deciding on whether or not I could make my own slotting template and came to the conclusion that, a) it’s definitely possible but extremely problematic and b) who wants to scrimp on the thing that matters the most about an instrument, how it plays!
If you are planning on making a template, I have found it quite useful to have a working example of the object you wish to model. I do have a MIJ Telecaster which I used to trace the body shape and I found the resulting template adequate for this build. A paper template would have been just as good a starting point but at the time I made the body template I didn’t have one handy. It was before I built my light box. I wanted to make my own neck (you have to start somewhere) but as a back-up plan and a working model, I went ahead and purchased a neck from Stew-Mac. I can use it for study and if I have a total fail on mine, will use it on this build (or the next…)
- Get a functional model if possible
- Take your time. A template can be traced and roughed out in little time but it is the attention to detail that ultimately matters. If you plan on using the template more than once, the fewer the flaws the more it will payoff in the long run. I spent a lot of time with the rasp, scrapers and sandpaper to get the edges faired.
- Make as many as you need until you get it right. It took me three times to get the neck template the way I wanted it. The first attempt was a crude trace of my Tele neck. The second was from a detailed drawing which I printed out. Number two was pretty good until I slipped on the belt sander and made the neck at the nut too small.
- Don’t throw out the rejects as you can always use the parts you like as templates for the one your building. I used both my rejects and the purchased neck to make my third and final template the way I wanted it. I used the finished neck and a center punch to get the tuning machine holes “perfectly” aligned. You have to start over but you don’t necessarily have to start from scratch.
- At first I was perplexed how to joint the neck edges which slope toward each other towards the headstock. Can’t use the jointer and really can’t even use a handplane at least near the headstock. One approach would mean separating the headstock and using the jointer but I wanted a one piece template if possible. Then it occurred to me (duh) that I simply line up a jointed stick and use that to route that edge straight. Just be careful to stop as you get close to the headstock. I used this trick and the other two “failed” templates to route the successful third.
Some tricks you can learn from others and some you just have to learn along the way.
Roughing the Neck
After lots of template cutting, measuring and truing I was ready to make my neck. My blank is birds eye maple which I’ve had in the shop for several years now and I was elated and nervous to be at this point. The template was sound, I re-measured all the important locations, including width at the heal and the nut. I was armed with some lovely Whiteside template bits but even so, the routing is a beast. It scares me and makes me worry every time I get even close to the end grain on the headstock and heal of the neck. In general it all went well. I always have to use the right-hand rule to identify which way the bit will spin and which way I need to feed the stock but I got it done and the neck looked great so far. Only one noticeable flaw (a bump you can feel but can’t see) which I carefully worked with my rasp and scraper until it went away (closed my eyes as I ran along the edge with my finger).
Truss Rod Route
In an attempt to simplify the truss rod installation, I went with the Stew-Mac low-profile dual action truss rod. Here is my reasoning.
- The traditional single action truss rod must be installed in an arc. Looks complicated, and a bit dated and if you get it wrong your neck is ruined.
- I wanted a dual action (modern) truss rod. The Stew-Mac hot rod versions were my first choices but after reading some of the reviews I wasn’t in such a hurry to purchase. Some say that they came with corrosion on them and they’re larger requiring a fair amount of wood be removed from the neck.
- I didn’t want to have to remove the neck to adjust the truss rod. Although this is traditional it doesn’t seem desirable to me. I could go with the spoke nut hot rod that adjusts through a route at the end of the neck but that also requires some additional installation steps. This was my second choice.
- The low profile 2 way truss rod requires a standard 1/4″ route 3/8″ deep which I can do with my new Whiteside 1/4″ spiral bit. It can be installed in either direction and it was less expensive than the alternatives. I didn’t buy the piloted reamer that is used to route the round hole for the end of the truss rod. At this point I was thinking about winging it without it but the jury is out.
I rigged up a work board using plywood and screwing scraps to secure the neck for routing. I then secured a jointed fence parallel to the neck center line. I had recently made an auxiliary base for my Bosch Colt trim router which gave me a stable footprint and suitable edge to follow the fence. Would be nice to have the plunge base but I made the route in two passes and controlling the “plunge” was fairly straightforward because the base had a small amount of flex.
Well, I said two passes but in reality it was several because I didn’t want to make the channel too deep. I wanted just flush so it wouldn’t rattle with the fingerboard installed. Also, there is a hump just behind the round nut end which is taller and wider than the rest of the rod. I routed deeper in this area but used a chisel to slightly widen the area. It wasn’t perfect but it was clean and functional with a good fit. Once I got close I used a piece of blue tape around the end to give me a way to remove the truss rod while fitting the groove.
Headstock and Tuners
On to drilling the tuner holes. I decided the best way to approach this was to get as absolutely close to perfect as possible. Previously when marking holes from paper templates I noticed that I couldn’t get them a perfect as I though they should be when lining them up. This time I had the purchased neck to use as a guide. I aligned the neck over my template and used a 3/8″ transfer punch to mark the center of the holes on my template. I then chucked up an 1/8″ drill bit in my drill press and precisely drilled 1/8″ holes through the dimpled marks. I then took my template over to my neck and used an 1/8″ (actually was one size smaller) transfer punch to mark the locations on my actual neck. Next I chucked up my 3/8″ Forstner bit and set the depth so that only the tip will break through on the back of the neck. I also took the time to put in a clean backer so the neck would lie flat and I used a couple of clamps to control the neck making sure it didn’t move during drilling. When all the holes had been drilled I flipped the neck over and once again took the small 1/8″ transfer punch to ever so slightly enlarge and identify the pilot holes on the back. I then carefully lowered the Forstner bit spur into this tiny hole, started the press and gently lowered the bit to finish the hole. I was pleased everything worked out well.
Things had been going well and so it was at this point that I got ahead of myself. I reasoned it was time to plane the headstock down to 1/2″. I took the neck back to my work board and using scrapes, formed a U to hold the neck heal and two straight pieces to along the length of the neck. I would free-hand the route but the depth of cut would be uniform so all I had to do was watch and not cut into the nut area. I made some marks, set the depth of cut and went for it. It went but it didn’t exactly go well. The groovy 1/4″ bit was better on the channel than on creating a uniform surface. Also my work holding jig wasn’t perfectly suited for the task which resulted in an uneven surface. I reasoned that I could clean it up OK on the belt sander and to some degree I was able to do so. The next time I do this I’m going to do a better job at it giving it more thought up front. I’m also thinking this step should have waited until the finger board had been glued on so that the transition between neck and headstock would involve both the maple neck and the fingerboard material. Build and learn, overall most things have gone surprisingly well so far.
Fret Slotting Gear
After two full and successful days in the workshop I had to pause to do some major house keeping. My shop was so cluttered, I could barely walk around in it. I had been putting things off for too long. I spent the majority of July 4th sweeping, rearranging machines, fixing my dust collection, throwing away scrap, etc. It had to be done, I just couldn’t function without taking some time to clean. Up until yesterday it had been “Death by a thousand cuts!” The great news is that I must have fixed a hundred things that had been nagging me. I won’t bore you with details but how refreshing it was to be able to function again!
Towards the late afternoon I had been satisfied with the day’s clean-up efforts, enough so that I pulled out the fret slotting gear. The concept is simple enough, use double-sided tape to attach the steel fret template to the back side of your fretboard. The notches in the steel template exactly fit the 1/16″ diameter pin which is supplied. The pin is to be inserted into your cross-cut sled fence 3/64″ above the “top of the fretboard”. Two problems that I can see, first I had to build a cross-cut sled for slotting. Yes, I already have a sled and gave consideration to using it but from what I could gather looking at the product, the sled bottom has to be made of very thin material or you won’t be able to extend the saw blade through it. I made mine from 1/4″ plywood which wasn’t as flat as I would have liked. Dan Erlewine suggested using masonite (hard board) which is even flimsier than my ply. I ended up making it 36″ wide but only 7″ narrow to reduce the warp and add some stability. This will end up being a pretty specialized appliance. I really got lucky truing up the fence to 90 degrees so I cut a test piece out of big box store poplar. I did (do) have questions about at what depth to cut the fret slots. Conventional wisdom would dictate, cut them to the depth of your fret wire tang of course. But once the fretboard is radiused, the slots won’t be deep enough toward the edges. Maybe I worry too much but I have no experience yet on which to base the depth. Should I go with the exact depth and if so, how would I deepen the slots later? I suppose I’ll just run my Zona or X-acto saw through the slot as required and call it “good”.
Well it is definitely a process with many steps ahead. Next I need to slot my actual fretboard, then apply the radius. Of course then there are the fret markers, truss rod installation (silicone sealer to secure and stave off rattle), all before gluing the fretboard to the neck. I learned patience years ago so it takes, as long as it takes and I’m loving every minute of the build. Well…. almost every minute…..
You are making “functional art” with the Turtlecovebrewer”
Last weekend I put my light box to use piecing together a Telecaster style guitar body drawing. Instead of having a reproduction service print the full-sized PDF drawing, I zoomed in on just the body and printed the view as a poster which printed on 4 pages. I enabled the cut marks to make lining up the pieces easier.
I used a hobby knife to cut out the body and then taped up both the positive and the negative bits. Moving the negative around on my body blank helped me decide where to cut.
Although not strictly necessary, I wanted to keep the glue line of the book matched pieces the center-line of the guitar. After tracing the outline on to my blank, I took it over to the band saw for rough cutting.
A week or so ago I had actually made a telecaster body template out of 1/2″ MDF, not from this drawing but by actually tracing my made in Japan Telecaster we shall just call “Rose”.
Prepping the template was the process I used to prep the body, trace the outline, rough cut at the band saw and fair the lines by mechanical and hand sanding until perfect. Your fingers are extremely sensitive and by running them along a surface it is quite easy to detect imperfections. I kept working until I couldn’t find any.
I was ready to attach the template to the roughed out body and attempted to do so with some thing double-sided tape. I attempted twice and it didn’t hold at all. I decided to hold the template on with screws so I overlaid the drawing to locate a safe place to drive screws into the body. I selected areas that would become the two pickup and control cavities. I pre-drilled for 4 screws and everything seemed very secure.
Using my new Whiteside pattern routing bit on the router table I carefully routed the body edge. My bit has a depth of cut of 1″ so I had to route the first pass with the pattern attached, then I removed the template and used the newly routed edge as the guide for the second pass. This bit was awesome but I now want one that is 2″ long so I can do this in one pass.
Needless to say, there was a lot of hand work that was needed even after routing. The area that will become the neck pocket was too tight and I didn’t feel comfortable routing all the way around so handwork was necessary. I used rasps, chisels and my oscillating spindle sander to fair the lines.
Once I was happy with the body, I loaded up my 1/8″ round-over bit at the router table and rounded over the edges top and bottom. Once again those areas that were difficult to reach with the router bit were worked by hand. The body looks great and I’m now ready to begin work on the neck.
I’ll wait until the neck is constructed to route the neck pocket. Once I get a good fit on the neck I can determine where the bridge should be located, then pickups and control cavities. It’s a process.
I’m so excited to be working on my first instrument projects. This is the reason I have spent the last 3 years learning to woodwork and setting up a shop and it feels great to actually be here!