------------------------------------------
GUITAR BUILDERS FAQ
Part I, Electric Guitars
Version 1.7
25 March 1995
Copyright (c) 1995-1996 Bill Wyza
All Rights Reserved
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================
= DISCLAIMER =
================
The information contained in this FAQ (Frequently Asked Questions)
file comes from many different sources, and as often as possible,
specific individuals are credited with their contributions. This
FAQ is provided as-is, with no expressed or implied warranty as to
its contents. While every effort has been made to ensure that the
information contained herein is accurate, all authors/contributors
assume no responsibility for errors, omissions, or damages that
result from the use of the information contained herein.
This FAQ may be reposted or redistributed as long as the following
conditions are met:
1. The contents of the FAQ are not altered in any way.
2. No money may be charged for the FAQ at anytime.
3. The copyright notice is included at the beginning
and end of the file.
This FAQ, in whole or in part, cannot be used for any commercial
purposes without the expressed written consent of the author.
This FAQ is best viewed with courier text.
////////////////////////////////////////////////////////////
"????" before an item means the item is an unanswered question.
">>>>" before an item is a new answered question since the
last release.
=======================
= TABLE OF CONTENTS =
=======================
PART 1 - BEFORE YOU BEGIN
I. General Information
A. Purpose
B. Where can I find this FAQ?
C. Contributors
D. Updates
E. Version Description
II. So You Want To Build A Guitar...
A. Why build a guitar?
B. Will building a guitar be cheaper than
buying one?
C. How much will it cost?
D. How long will it take?
E. What will I need to get started?
III. Wood.
A. What types of wood are commonly used?
B What's all this "quarter" talk?
C. Does the type of wood effect the sound?
D. What are their properties?
E. How much does wood cost?
F. Where can I get the wood?
G. How do I choose a wood?
IV. Tools And Materials
A. What tools do I need?
B. How much will they cost?
C. Where can I buy them?
PART 2 - BUILDING A GUITAR
V. Initial Considerations
A. What parameters do I need to consider
before I start?
B. Can I say I built it from scratch?
VI. The Body
A. What size should I make the body?
B. What shape should I make the body?
C. Should I laminate the body? How?
VII. The Neck
A. What is scale length and what does it mean?
B. How do I determine fret spacing?
C. What kind of frets should I use?
D. What type of nut should I use?
E. What type of tuners should I use?
F. What types of neck joints are there?
G. How do I put on a decal?
H. Do I need a neck angle?
>>>>>>>>>>>I. Can I buy pre-slotted fingerboards?
>>>>>>>>>>>J. Can I buy pre-assembled necks?
VIII. The Electronics
A. What are the capacitors doing?
B. How do I shield cavities to prevent that
humming sound?
C. How do I remove that annoying scraping sound
in the potentiometers?
>>>>>>>>>>>D. How does a pickup work?
>>>>>>>>>>>E. How does a humbucker work?
>>>>>>>>>>>F. What is the difference between series and
parallel wiring?
>>>>>>>>>>>G. What is a four wire pickup?
IX. Pre-Assembly
A. What should I do now?
B.
X. The Finish
A. How do I stain a guitar?
B. What kind of paint should I use for colors?
C. What is a sample finishing schedule?
???????????D. How long should the guitar cure before it
has hardened enough to assemble?
PART 3 - THE FINAL STEPS
XI. Assembly
A.
B.
XII. Setup
A. How do I adjust intonation?
B. How should I vertically adjust my bridge
saddles?
XIII. Maintenance
A. How often should I replace my strings?
B. When should I reset my intonation?
C. What is the best way to polish the frets?
D. How do I pull a fret?
E. What is a fret job?
Part 4 - TIPS AND TRICKS
This section is for tips and tricks from readers
who have encountered some aspect of guitar
building they wish to share.
A. Pre-drill humbucker corners before routing
B. Routing
C. Bridge Location (for a fixed bridge)
D. Bridge Pickup Location
E. Centerline
F. Sandpaper
G. Strengthen a floating tremelo mounting
H. More tips on routing.
Part 5 - PITFALLS AND PROBLEMS
This section is for pitfalls and problems from
readers who have encountered some pitfalls of
guitar building they wish to share.
A. Bandsaw too small.
B. Drill press too small.
C. Trouble with painting area.
D. Paint buildup
Appendix A. Wood Suppliers
Appendix B. Parts Suppliers
Appendix C. Tools And Materials
Appendix D. Fret Spacing Tables
Appendix E. Books On Guitar Building
Appendix F. Videos On Guitar Building
Appendix G. Organizations
Appendix H. Schools
Appendix I. Sample Cost Of A Guitar
===============================
= PART I - BEFORE YOU BEGIN =
===============================
I. General Information
A. Purpose
The purpose of this FAQ is to discuss some of the inner workings
of building electric guitars. While the subject of guitar building
and luthier in general can (and has) filled volumes, the goal of
this FAQ is to touch on some of the major topics in a level of detail
that can get the beginner started as well as inform the more experienced
builder. It is NOT the goal of this FAQ to be a text book on building
guitars. See Appendix E for such books.
B. Where can I find this FAQ
This FAQ is posted periodically to the following newsgroup:
rec.music.makers.builders
To save bandwidth, only a FAQ notification message is posted
at the following newsgroups:
alt.guitars
rec.music.guitars
rec.music.makers.guitars
The latest version of the FAQ can be requested from the
author. The author can be reached at:
bill@tpd-pss.hac.com (Checked daily, Monday thru Friday)
- or -
wyza@aol.com (Checked weekly, Saturday & Sunday)
============================================
= Also available on the World Wide Web. =
============================================
= =
= http://members.aol.com/Wyza/gtrbuild.htm =
= =
============================================
C. Contributors
The following individuals contributed to this FAQ:
NAME SECTION
============================== ==========================
sasaki@netopd.harvard.edu Tips and Tricks (H)
Corrections to III.D
Assorted comments
hawley@adobe.com (Steve Hawley) Tips and Tricks (G)
miker@primenet.com (Mike Rejsa) Tips and Tricks (B thru F)
Comments (of a constructive nature) and contributions are always
welcome.
The author reserves the right to edit any contributions for grammar,
spelling, readability, etc, but credit will be given as appropriate.
D. Updates
This FAQ is updated periodically as the author sees fit. Updates
to the text in this FAQ are described in the Version Description
section that follows.
E. Version Description
The following is a description of the version history of this
document. Not all updates/corrections are necessarily listed
below. Small editing and rewriting changes (at the author's
descretion) will *not* be mentioned in the table below.
Version Date Description/Changes
------- -------- -------------------
1.7 03/25/96 Added VIII.D,E,F,G
Added VII.I,J
1.6 10/19/95 Added Tips and Tricks
Corrections to III.D
Added wood descriptions
Added Pitfalls & Problems D.
Added VI.C
Added IX.A
Added VII.H
1.5 09/29/95 Added more Tips and Tricks
Added XIII.C and D
Added VII.G
1.4 07/10/95 Added more Tips and Tricks
Added Section:
XIII. Maintenance (A,B)
1.3 06/12/95 Added section:
Part 5 - Pitfalls and Problems.
questions A,B,C
Added question: Part 4.A
1.2 05/25/95 Expanded answer to question
VIII.C.
Expanded Appendix E and F.
1.1 04/27/95 Added a new school,
American School of Lutherie
Added misc. data to the Appendices
Added a new nut material, TUSQ
Expanded answer to questions
III.A, III.D, and III.G
Added new parts and wood
suppliers:
Wood 'N' Guitars
Pacific Rim Tonewoods
Sundance Tonewoods
Added new book,
_Making_an_Archtop_Guitar_
Added question XII.B
1.0 03/25/95 This is the original issue.
// End of Section I
////////////////////////////////////////////////////////////
II. So You Want To Build A Guitar...
A. Why build a guitar?
Why do you want to build a guitar? Some people build
guitars because the enjoy woodworking, others because they
love the instrument, and still others because the
commercially available guitars do not meet their needs.
Some people actually think that it would be cheaper than
buying one (see below for more on that subject). These are
just some of the answers, and odds are that you fit into one
of those categories.
If you want to build a guitar for the love of the instrument
and the challenge of the task, you will most certainly be
satisfied with the adventure. At times you will love it
(when you start to see the body take shape), and at times
you will hate it (when you carelessly lift the router from
the pickup cavity and gouge the body surface). But, be
assured, there will never be a dull moment.
B. Will building a guitar be cheaper than buying one?
Simply stated: No, but let me explain further...
Building your own guitar *could* be cheaper than buying one,
if one or more of the following conditions are met:
o You are related to the president of Fender guitars and you
are allowed the use of their manufacturing facility.
o You own a music store and have access to wholesale parts
and supplies.
o You own a woodworking shop and have every imaginable tool
for cutting, shaping, and sanding wood.
You get the idea. But, if you are like the rest of us,
and don't have all the files, saws, and sanders, etc.,
there is a substantial investment to be made on tools and
supplies.
C. How much will it cost?
Many factors affect the cost of building a guitar.
Primarily, there is the cost of tools, parts, and supplies.
See the Appendices for samples of the costs.
When possible, beg and borrow whatever tools you can to keep
your initial costs to a minimum. Don't run out and buy the
newest "WhizBang" bandsaw unless you really can afford it.
I have found that there is a kind of Catch-22 when you are
starting out. If you use the simplest tools, you will spend
more time and effort finishing your instrument, but you will
save some money. For example, you can spend 8 hours hand
sanding the body with sandpaper and a wood block (building
some pretty strong arms in the process), or you could
purchase a small hand-held detail sander and finish it
in 2 hours. You have to decide what is best for you.
On the good side, if you do decide to invest in some tools,
at least they are a one-time investment and should recoup
their value over time.
D. How long will it take?
This will vary for everyone, and depends on many factors,
such as:
o Woodworking experience
Experienced woodworkers probably have the tools and
knowledge to avoid many of the pitfalls that novices
encounter along the way.
o Tools available
High speed tools, and specialized tools simplify and speed
up many of the mundane and time consuming processes, such
as sanding.
o Desired results
If your desired results are a simple instrument for your
own entertainment, or a professional instrument for
resale, you will spend your time and effort accordingly.
o Time available
You can only work on your guitar when you have the free
time. What may normally take a few weeks could easily
stretch into months depending on the availability of free
time at your disposal.
E. What will I need to get started?
An almost fanatical "If I build it, it will play" attitude
to get you through the tough times.
You will also need a minimum set of tools (See Appendix C),
some wood, some paint, a lot of guitar parts, a clean
(temporarily) and dry workspace, a work table, and a lot of
time.
// End of Section II
////////////////////////////////////////////////////////////
III. Wood.
A. What types of wood are commonly used?
"Hardwoods" are the most commonly used woods for guitar
building. Below is a list of some of the types of hardwoods
used to build guitars:
COMMON EXOTIC/IMPORTED
=============== ===========================
Alder Bois De Rose (from Madagascar)
Ash Bubinga (from Africa)
Basswood Cocobolo** (from Mexico)
Cherry Koa (from Hawaii)
Ebony Pau Ferro (from Bolivia)
Mahogany Satinwood (from Sri Lanka)
Maple Zebrawood (from Africa)
Oak
Poplar
Rosewood*
Walnut
* There have reported cases of allergic reactions to
rosewood, so keep that in mind.
** Cocobolo can be also be toxic.
(Can anyone confirm these warnings?)
B. What's all this "quarter" talk?
Commercial lumber is measured in terms of a "quarter" of an
inch. Therefore, a plank of any particular length and
width, with a thickness of 1 inch, would be referred to as
"Four-quarter" wood. Five-quarter is 1 1/4" thick, etc.
But there is a catch. The thickness of the wood is measured in
it's rough, undried state. An 8-quarters board was 2 inches
thick when it came out of the sawmill. Usually, when you buy
wood at your local lumberyard, it has been dried and the two
surfaces have been planned smooth.
So, that piece of 8 quarters ash will be closer to 1-3/4 inch
thick than two inches.
Which works out well since most guitars are about 1-3/4 inch
thick anyway!
C. Does the type of wood affect the sound?
Yes and no, but mostly no. Although the acoustical
properties of maple are different than that of mahogany, the
contribution of the maple (which is much harder and denser)
to the overall sound is very small (to the average person).
You will find that a heavier, denser wood may improve
sustain, which is a desirable quality, but there is a
long standing debate on whether this is entirely true or
not. I do not wish to enter into a debate on the subject,
decide for yourself when you have compared the woods on
similar instruments.
D. What are their properties?
Here is a brief description of some of the more popular
hardwoods.
Alder - Alder is a lightweight, closed grain wood. Its
natural color is light tan and has little or no
distinct grain lines. It is easy to finish.
Alder is suitable for opaque finishes and sunbursts.
Ash - Ash is lightweight and has a good texture. It is
particularly good for clear/transparent finishes.
Ash is often used for expensive guitars. It is
often mistaken for oak. Ash has smaller pores
and a less pronounced grain than oak.
Basswood - Fine straight grain material with an even texture.
Creamy-white in color and fairly soft. It is not
recommended for clear finishes. Basswood has a nice
warm tone.
Cherry - Hard straight-grain with firm texture. Reddish-brown
to deep red, with brown flecks, and will naturally darken
with age. Works well with hand and machine tools and
finishes well.
Ebony - Ebony, one the heaviest of the hardwoods, is very
dense, machines well, and resists warping and
cracking. Ebony is a popular wood for fingerboards
due to its stability and strength. It holds frets
extremely well and has a striking appearance. Ebony
is also an expensive choice.
Mahogany - Mahogany is a porous, but strong wood which is
easy to machine and finish. It has a spiraling and
interlocking grain pattern which makes it a very
stable wood. Honduras mahogany is the favorite
choice of instrument builders, but is very hard
to find. African and Spanish mahoganies are often
used as a replacement for Honduras mahogany.
Maple - Maple usually comes from 2 sub-families: red maple
and sugar maple. The common designation of "curly"
and "birds-eye" are natural phenomena of the wood
and not a species of their own. Maple is a strong,
very heavy wood which is light (blond) in color. Maple
finishes well and can be steamed and bent. Maple is
used in both bodies and necks. If used in necks, it
is advisable to laminate the neck from two or three
pieces for increased stability. Maple also has very
tight pores, a feature which simplifies finishing.
Oak - Oak is heavier than maple and has larger pores. Oak
has a desirable grain pattern that makes it a good
choice for visual impact.
Poplar - Poplar is similar to Maple in visible grain structure.
It is often blond in color, but can also have a green
tint to it. It is light weight and very soft. It is
often used as an alternative to pine, since clear
poplar is cheaper than clear pine.
Rosewood - Rosewood, like ebony, is a popular choice for
finger boards. Rosewood, however, is more oily than
ebony, making finishing more difficult. Brazilian
rosewood is the most sought after type of rosewood
and therefore the most expensive. Indian rosewood
is often used a replacement for Brazilian rosewood.
Walnut - Walnut is a beautiful, rich, brown wood. Walnut
is similar to mahogany, but with larger pores and
less stability. It is also much more expensive.
Walnut has a very appealing grain pattern.
E. How much does wood cost?
Wood prices vary for each type of wood depending primarily
on the availability and quality of the piece. The "common"
woods listed above are available in most specialty lumber
yards for a reasonable price. Take the time to shop around
and call each source for a quote. The higher the quality of
the wood the higher the price. Also, the more rare a wood
is, the more expensive it will be. Price some koa from
Hawaii and you'll begin to understand. Some sample prices
for woods are given in Appendix G, Sample Cost of A Guitar.
F. Where can I get the wood?
The woods listed above are available in most specialty
lumber yards. Look in your local yellow pages under Lumber,
or Hardwoods. Also, contact the wood suppliers listed in
Appendix A. Most hardware superstores, Home Depot, etc.,
will not have the type of woods in the sizes and qualities
necessary for guitar building.
G. How do I choose a wood?
This depends on many factors, including: availability of
wood, budget, desired look and feel, desired weight of
instrument, etc. Some of the things to look for in choosing
a wood are: close-grained, no knots, and no checks or
cracks. Rap the wood lightly on the floor and listen for
"clunking" sounds. If you hear this, the wood may be
cracked internally. Also, look at the visual appeal of the
grain. This is especially important if you will use a see-
through stain finish that will accent the grain pattern.
When choosing a wood from a local supplier, you will very
likely be unable to find a single piece with sufficient
width for the body (usually about 13" or so wide). What
this means is that you will have to select a plank that is
some other width, say 7 inches wide. You will then have to
cut the plank to the desired length and laminate (glue) the
pieces together to get the needed width. This complicates
matters since the glue joint needs to be as "square" as
possible. Clamping the pieces together takes some practice.
If you can find a plank that is wide enough and has no
flaws, grab it, you'll thank yourself later.
// End of Section III
////////////////////////////////////////////////////////////
IV. Tools And Materials
A. What tools do I need?
There are a great number of tools that can be used in
guitar building. You won't need them all to start out.
Unfortunately, having the proper tools to do a job
invariably makes that job easier, quicker, and more
successful, but you will have to decide what meets
your building needs. Refer to Appendix C for a list and
description of many of the tools used in guitar building.
B. How much will they cost?
Purchasing all the tools necessary for guitar building can
be a very expensive venture. Just the common tools alone
can add up if you are starting from scratch. In many cases,
used tools work just as well as new ones, and at a fraction
of the cost. Specialized tools such as fret files, etc.,
are more expensive and would be difficult to find used.
Check the suppliers in Appendix B for prices and
availability of the tools.
C. Where can I buy them?
The common tools can be found at almost any hardware store
or department store. Your cost will vary, so shop around.
The specialized tools are more difficult to find and you
will most likely have to resort to a specialty store or
mail-order house. Check the listings in Appendix B for
sources of tools.
// End of Section IV
/////////////////////////////////////////////////////////
================================
= PART 2 - BUILDING A GUITAR =
================================
V. Initial Considerations
A. What parameters do I need to consider before I start?
You have to consider may factors when deciding to build a
custom guitar. For example, do you want to design and cut
your own body and neck, or purchase ready made parts from
another supplier, and install your own selection of
hardware? This is one viable option, and will drastically
reduce the amount of tools you need. If you decide to do
everything from scratch, your initial list of factors will
be much greater. Listed below are some of the things you
need to decide before you get started on your dream guitar:
o Wood selection for body, neck, and fingerboard
o Scale length (24 3/4 in. or 25 1/2 in., or some other
length)
o Frets (number of frets and size of fret wire)
o Neck width at body and nut
o Neck radius (simple or compound)
o Fingerboard radius (simple, compound, or offset)
o Body shape, thickness, and contouring
o Neck-to-body joint (bolt-on, set-in, neck-through)
o Neck angle and bridge height
o Head angle and shape
o Pickups and controls (numbers and style)
o Bridge style (fixed, fixed-tremolo, floating-tremolo)
o Nut style (width, string spacing, material, locking nut)
o Truss rod (type and adjustment position)
o Binding
o Inlays (size, shape, and material)
o Tuning machines (type: 3-3, 4-2, or 6 in-line, color,
manufacturer, locking)
o Electronics mounting style (rear, front pickguard,
shielding)
o Hardware (knobs, cover plates, potentiometers, switches,
wires, pickups, etc.)
o Finish (stain, see-through or opaque, colors)
All of these factors effect the construction of the guitar.
You should have thought out all these items before you begin
your project, and understand the implications of each style.
Proper planning will save you time and effort and probably
prevent errors that could ruin the project.
B. Can I say I built it from scratch?
The following is an editorial response, your opinions may
vary:
I've heard many arguments on this subject & I think they are
a waste of time. Many people will say that if you purchase
preformed parts like necks and bodies, that you are only
"putting it together", not building it from scratch. Ok,
maybe in a perfect world that is true. But that essentially
is what all manufacturers are doing. Are you going to say
that they are not guitar builders? They use prebuilt parts
from other companies, too. Pickups, tremolos, tuning
machines, etc., are built by other companies and then used
by the guitar manufacturers.
Some very respectable builders like Taylor and Gibson use
computerized CNC machines that cut their necks and bodies to
tolerances of a thousandth of an inch. That can hardly be
called handmade, but I really don't see a difference between
that and the guy who buys a neck from Warmoth (which Carvin
does, by the way).
If you really want say you built it completely from scratch,
then you better grow the trees, mine the ore for the parts,
forge the tools, cut the wood, carve the shape, wind the
pickups, mold the plastic, machine the hardware, and
chemically mix the paints (you get the picture).
Building a guitar using other parts is a respectable hobby
and business. Just do what you see fit for your own needs.
If you prefer to design the body shape and cut it, great.
If you'd rather buy a body and concentrate on wiring, that's
great too. Just enjoy the project and respect others that
also build guitars. And, yes, say you built it from
scratch.
My apologies for the rather sarcastic tone...
// End of Section V
////////////////////////////////////////////////////////////
VI. The Body
A. What size should I make the body?
The size of the body should be large enough to hold all the
hardware and electronics and also small enough so as to not
be too heavy. The thickness of the body has to be enough to
accommodate the hardware and electronics, also. A thickness
of 1 3/4" is common for many guitars, but you can go smaller
or larger if you so desire. The length of the body blank
can be up to 20" and the width about 13-14". This will
allow you sufficient material to cut just about any body
shape. Use larger or smaller sizes if your needs dictate.
Another factor is the weight of the wood. A very heavy
maple may become a burden during those long three hour sets.
B. What shape should I make the body?
The shape of the body should be able to support all the
electronics and hardware components. It should also be
visually appealing. Many variations of body styles have
been tried throughout the years, with the standard being a
Fender style or Gibson style. Other body shapes
take variations on those two. The more "unusual" body
styles, although interesting at times, generally do not
appeal to the wider audiences. However, since this is your
guitar, you can use any style that meets the minimum needs
and appeals to you.
If you are really ambitious, and/or a woodworking pro, try
carving designs directly into the body. This would make
your instrument truly unique.
C. Should I laminate the body? How?
If you can find a piece of wood with the right dimensions,
use it. Often, you can order a "body blank" from the
suppliers listed in the appendix, for about $50 and up
depending on size, wood type, and quality. If this is not
possible, you can laminate two pieces together to achieve
the right width.
When you purchase wood for the body, look for a board
with the least amount of flaws (cracks, knots, etc). The
board is 8 quarter (sanded down to 1 3/4" thickness), and is
about 7 inches wide. Have the shop cut the board into
about 18 inch lengths (or whatever length you need for your
blank).
You should then square all sides of the boards, either by
hand (ugh!) or with a planer. You want a square edge for
gluing.
It is also a good idea to use dowels or some other kind of
joint to secure the pieces together. This will add strength
and keep the wood from shifting during gluing.
Next, liberally fill the dowel holes (joints) and the surface
of the wood with glue (Titebond is a good choice). Align the
edges and use as many clamps as you have to squeeze the wood
together. Some glue will run out of the joint. Just wipe it
off the wood.
Let the pieces sit clamped for about 24-48 hours. You can now
remove the clamps and continue.
// End of Section VI
////////////////////////////////////////////////////////////
VII. The Neck
A. What is scale length and what does it mean?
Scale length is defined as the "length of the string". This
is measured as the distance between two points: one at the
bridge and one at the nut. The points where the strings
contact the nut and the bridge define the scale length of
the guitar.
A longer scale will, to a point, give more sustain. The
reason for this is that the tighter a string is stretched,
the longer it will sustain, and for a string of any given
thickness, the string at the longer scale will have to be
tensioned higher than the string at the shorter scale to
reach the same pitch. However, a longer scale will
make the fret distances longer and make it more difficult to
reach the frets.
Most guitar scale lengths are between 24 and 26 inches, with
the most common being 24 3/4 in. (Les Paul style) and 25 1/2
in. (Fender style).
B. How do I determine fret spacing?
Fret spacing is determined by the "18 rule" (actually, it is
more like 17.817). The fret spacing is in calculated as
follows:
The distance to the first fret from the nut is calculated by
dividing the total scale length by 17.817. For a 25 1/2 in.
scale...
25.5 / 17.817 = 1.431273 (or 1.431)
That result is then subtracted from the total scale length...
25.5 - 1.431 = 24.069
That result is divided by 17.817 to get the distance from the
first fret to the second...
24.069 / 17.817 = 1.351
and so on.
Refer to Appendix D for pre-calculated fret distances for some
common scale lengths.
C. What kind of frets should I use?
Fret wire is available in three shapes: rounded, squared,
and triangular. The most popular shape is rounded, or
"bead". Fret wire is also measured in three ways: 1) The
height of the wire, 2) the width of the bead, and 3) the
height of the bead. Therefore, you can choose from fret
wire that is "wide and medium", or "wide and low", or
"narrow and tall" and so on. I think you get the picture.
Let's compare fret wire by height...
** TALL **
Tall fretwire, although not commonly used, has some advantages:
o Easier for string bends since finger tip has less contact
with fingerboard
o More sustain due to greater mass and because string is not
damped by fingerboard contact
o Faster hammer-on and pull-off techniques, similar to
scalloped fingerboards, but not as radical
o Long life and able withstand more fret dressings between
refrets
...and some disadvantages:
o Poor intonation could result from pressing too hard
o Neck may feel "thicker" or rough when sliding your hand
along the fretboard
** MEDIUM **
Medium fretwire is the standard size, regardless of the
width of the bead. The familiar "Jumbo" fret refers to the
width of the bead not the heighth. Some of the advantages
of medium fret wire are:
o More accurate intonation (with an accurate "touch")
o Barre chords and slides are relatively easy
o Tone is "softer"
...and some disadvantages:
o Careful fret work is required to ensure the
height is not lost during dressing
o Wears out sooner
o Less dressing between refrets
** LOW **
Low fret wire is not commonly found on commercial
instruments and is not recommended.
** WIDTH **
The fret width, regardless of heighth, effects the
playability and tone. Wide frets (Jumbo) offer more sustain
than narrow frets, but must be dressed more accurately to
achieve proper intonation. Narrow frets have a unique
sustain quality due to the smaller string/fret contact
point, and offer more accurate intonation.
The triangular fretwire has not achieved widespread
acceptance and is not recommended unless you wish to
experiment. It does offer the most accurate intonation,
however.
You will have to decide on the size and shape of the frets
you use after some experimentation. The safest bet is a
medium/Jumbo fret, but your mileage may vary.
D. What type of nut should I use?
The first decision in choosing a nut is decide if you will
use what I refer to as a "natural" nut. A natural nut is
one that is not mechanical, such as a locking nut or a
"roller" nut, for example. A natural nut can be made of any
material, such as:
o Bone
Currently the material of choice in high quality
instruments. It is very hard and offers superior tone,
polishes well, and allows precise slot filing.
o Corion
A new material with comparable hardness and appearance of
bone. Offers excellent tone and also polishes well. This
is the same material found in kitchen and bathroom counter
tops.
o Micarta
Micarta is a synthetic ivory/bone substitute. Ivory in
color and softer than bone, it files and sands very easily.
o Graphite
A self-lubricating material excellent for non-locking
tremolo systems.
o Mother-Of-Pearl
Very dense and known for tonal brilliance and beauty.
o TUSQ
TUSQ is a man made ivory substitute aimed at acoustic and
vintage guitars. I see no reason it can't be used on
electrics. TUSQ has improved sustain and clarity.
Any one of the above materials would work well for a natural
nut. Your choice of material and nut style will depend, to
a degree, on the bridge and tuners you select. It is
possible to use locking tuners and a natural nut in place of
a locking nut. The choice is yours.
E. What type of tuners should I use?
Essentially, the choice of tuners depend on several factors:
budget, appearance, bridge/tremolo choice, and headstock
construction. There are many excellent tuner manufacturers
that provide a wide range of tuner styles. They usually
come in chrome, black, or gold. There are special tuners
for inline headstock installation, and there are also
locking tuners for use with floating tremolo systems (in
place of the locking nut).
Choose the tuner that best fits your needs and meets your budget.
As always, shop around and compare.
F. What types of neck joints are there?
The three most common neck joints are: bolt-on, set-in, neck-thru.
Bolt-on neck joints are extremely common and used very
successfully in commercial electric instruments. The neck
is attached to the body with a series of screws or nut/bolt
combinations. A metal neck plate is usually mounted on the
back of the body to support the screws or bolts.
A set-in neck is where a flat neck heel is glued to the body
front and the overhanging fretboard is glued to the body
surface. Set-in necks are most common in acoustic guitars
and are used in some electrics.
A neck-thru is where the neck wood is extended into and
through the body. The body is divided into two sides, which
are laminated on either side of the extended neck wood.
After the laminations are secure, the body is carved into
shape. Neck-thru construction often gives the best access
to the upper fretboard range. Neck-thru construction is
often used in high-end guitars.
G. How do I put on a decal?
There are several options for placing a logo on the headstock of
the guitar. These are some of the ways I know of:
o Inlay - You could use abalone/mother-of-pearl etc. and create
an inlay of your logo. You must then carve out the
headstock to fit the logo and glue it in place. I
would not consider this option unless you are experienced
with inlay work.
o Airbrush - You could have your logo done by an airbrush artist.
Again, this could be an expensive option for a number of
guitars.
o Mylar - There is a pressure-sensitive paper that you can print
your logo on and stick to the headstock.
o Decal - Some hobby stores stock decal film which can run through
a laser copier or printer and create a water soluable decal
like those used on model cars.
o Transfer - You can also make a silk-screen transfer which involves
screening your logo onto a clear background, that's on a
paper that is water-soluable. The image is then transfered
to the headstock and lacquered over with clear lacquer.
Do not use to much lacquer thinner or the image may disolve.
I believe the transfer method is used most often.
H. Do I need a neck angle?
Some guitars, most notably, Gibson Les Pauls, have a slight downward
angle on their necks. This ensures a close action along the fret
boards. The neck could drop as much as 3/16 of an inch from the body
joint to the front of the nut.
Often, a guitar that uses a Floyd Rose tremolo bridge will require a
neck angle. You could avoid a neck angle if you route a recess into
the body so that the tremolo is set closer to the wood. This may
also be useful for increased upward pull of the bar.
You could make the neck angle by sanding the neck joint cavity at
a slope or you could shim the rear of the cavity with a thin
piece of wood. The sanded cavity will be cleaner and more
professional looking, but the shim could work just as well.
I. Can I buy pre-slotted fingerboards?
Yes. Check the suppliers listed in the Appendix. Many sell
pre-slotted fingerboards ready for final shaping, sanding, and
sizing. You can get the standard 22 and 24 fret fingerboards
without too much difficulty, and special orders are also
possible. The most common wood types are maple, rosewood,
and ebony. They may or may not have the nut slot ready also.
Check your supplier for info.
J. Can I buy pre-assembled necks?
Yes. Also check the Appendix. You can easily get Strat or
Gibson style replacement necks. There are also Jackson and
Telecaster style available. The usually come with a choice of
fingerboards, and are pre-fretted with a medium fret wire. The
tuners holes will also be drilled. You will have to drill
the neck plate holes yourself. This is an excellent way to get
started in guitar building.
// End of Section VII
////////////////////////////////////////////////////////////
VIII. The Electronics
A. What are the capacitors doing?
Capacitors are often added to control circuitry to affect
the tone of the guitar. A capacitor is used to "roll-off"
or reduce the high (treble) frequencies. Most single coil
pickups use a 0.05uf capacitor, while humbuckers use a
0.02uf capacitor. The usual value is 0.02uf. The
capacitors are usually soldered on the potentiometer
to form a tone circuit, and can also be used with resistors
to change to effective resistance of the control
potentiometer. Volumes could be written on this subject so
refer to the books in Appendix E for more information.
B. How do I shield cavities to prevent that humming sound?
You can shield the cavities by either using conductive paint
(the preferred method) or foil or metal inside the cavities.
Since conductive paint is easier and very effective, use
that method for the cavities. Foil can be used to shield
the underside of the pick guards or cavity covers. Also,
using shielded wiring will also help to reduce the hum.
Completely paint the inside of the cavities (2 coats) and
make sure to include the recessed areas for the coverplates.
Let some paint get into the screw holes. Use foil tape or
paint to cover the underside of the plastic cavity cover so
that it contacts the screw holes and recessed areas. Make
sure that a ground wire reaches the shielded areas, and use
a multimeter to check the continuity to ground.
Also, be sure to connect a ground wire to the tremolo claw.
This will ground the strings when your hands are not touching
the bridge. (I'm sure you've all heard the buzzing that
dissappears when you touch the strings.
C. How do I remove that annoying scraping sound in the
potentiometers?
Use a contact cleaner spray (also known as tuner cleaner) to
clean the potentiometers. Get the sprays from any radio/TV
repair shop or electronics store. If possible, spray the
cleaner directly into the hole in the potentiometer casing
using the plastic hose that comes with the spray. If that
is not possible, you can spray into the shaft opening and
let the fluid work its way into the pot. A couple
of sprayings should clean the carbon build up and remove the
noise.
These products are petrolleum and/or alcohol based and will
evaporate fairly quickly. Some even have a silicon additive
for lubrication. The additive remains after the chemical
has evaporated.
D. How does a pickup work?
In simplified terms, a pickup consists of a coil of wire
around a set of magnetic pole pieces held in a frame or bobbin.
If a wire, such as a guitar string, is passed (vibrated) through
a magnetic field such as that created by the pole pieces, a
small electrical current is "induced". This current is sent
through the wire that surrounds the pole pieces to the amplifier
which magnifies the sound.
E. How does a humbucker work?
A humbucking pickup is made up of two pickups (or coils) under
one cover. The two coils are wired together in series and
out-of-phase. This is to eliminate humming. They are also
magnetically opposite by turning the magnet around in one coil.
One set of magnets wrapped with wire makes a "single-coil" pickup.
Single-coil pickups tend to hum since they receive interference
from AC currents. It was discovered that two single-coil pickups
could be connected together in a special way and with a common
ground to cancel out the hum produced by both pickups.
This method of connecting the pickups is called "in-series". In-
series means that the end wrap of one coil in connected to the end
wrap of the second coil. The resistance of the coils is combined
and this gives the humbucking power. This end-wrap to end-wrap
technique gives the out-ot-phase characteristic of the pickup.
Also, note that the coils are wound in the same direction on the
bobbins.
Because the coils are magnetically opposite, the wires induce the
current in opposite directions. This cancels out the hum and
returns the out-of-phase coils to electrically in-phase after all.
Also, a humbucking pickup does not have to be under the same cover.
Any two single coil pickups can be wired to perform as a humbucking
pickup.
HUMBUCKING PICKUP LAYOUT
Coil 1 Coil 2
N S <------- Magnetic Pole directions
- / -
| | / | |
| | End / | |
| | / Wrap | | <------- The "ends" of the coils meet
| | / | |
- -
^ ^
| | <------- Both coils wrap counterclockwise
| |
^ ^
Wire Wire
Path Path
F. What is the difference between series and parallel wiring?
Seies linkage combines the coils end-to-end. When two equal
resistances are linked in series, the result is the sum of the
two. The series sound is powerful and bassy.
Parallel linkage combines the coils side-by-side. When two
equal resistances are combined in parallel, the result is one
quarter of their combined value. The parallel sound is weaker
but bright and clean.
G. What is a four wire pickup?
A traditional humbucking pickup has only two wire exposed: the hot
and the ground. A modern four wire pickups exposes the start and
finish ends of each coil into a four-wire coxial cable with a
separate ground wire. When used with the appropriate switches,
the pickup can be wired as 1) in series/out-of-phase, 2) in-
parallel/in-phase, 3) in-series/in-phase, 4) in-parallel/in-phase,
and 5) either coil alone (split).
A three-position mini switch (on/on/on) can be used to wire a
humbucker in three ways: parallel, split, series. This switch
often comes with the pickup.
PICKUP DPDT Switch Position
- - --------
| | | | | Parallel
| | | WIRES | 1 2 |
| | | ----- White | |
| | | | | 3 4 | Split (middle)
- - |----- Red | |
| | | 5 6 |
|_______|----- Green | | Series
| | --------
= ----- Black
GND
Connections:
-------------------------------
White 3
Red 4
Green 5
Black 6
3 2
5 GND
6 Output to Controls
Switch Case GND
// End of Section VIII
////////////////////////////////////////////////////////////
IX. Pre-Assembly
A. What should I do now?
Now would be a good time to assemble the guitar to check
all your routes and screw holes. You should check them as
you go along, but this would be the last chance to make
any adjustments before the finish is applied.
Even if you don't wire the electronics, install the neck
and the bridge and check the adjustments to be sure you
can echieve the desired action. Also install the pickups
to make sure you can adjust them to and away from the strings.
Even install the cover plates to make sure your routes are
clean and square.
B.
// End of Section IX
////////////////////////////////////////////////////////////
X. The Finish
A. How do I stain a guitar?
Staining the guitar is a complex issue. Refer to the books
and videos in the Appendix for more information on staining.
B. What kind of paint should I use for colors?
You can use an acrylic automotive lacquer or a
nitrocellulose lacquer. Check your local automotive or
furniture paint shops, or the parts suppliers in the
appendix for colors and availability.
NOTE: Do NOT mix the two types of lacquer on a single
paint job (acrylic & nitrocellulose).
Also, some materials my be illegal to use in your area, so
take to care to be aware of any environmental factors.
C. What is a sample finishing schedule?
The following is a sample finishing schedule taken for
Stewart-MacDonald's catalog. This is only one sample and
there may be many other ways of doing the finish. Research
this subject as you see fit.
This schedule is for nitrocellulose lacquer and should not
be used with other finishing media. (Note: do NOT use
acrylic lacquers with nitrocellulose lacquers)
WOOD PREPARATION
Sand surface down to #220
or #320 grit smoothness.
|
______________________|_________________
| |
POROUS WOOD NON-POROUS WOOD
(Rosewood, Mahogany, Ash, (Maple, Spruce,
Basswood, Walnut, paduak) Alder, Poplar, Ebony)
| |
| |
STAIN (OPTIONAL) STAIN (OPTIONAL)
(Water based anilines, (Water based anilines,
color-tone stains) color-tone stains)
| |
| |
WASH COAT (OPTIONAL) |
(Lacquer, sanding sealer, |
or shellac) |
| |
| |
PASTE WOOD FILLER |
(Natural for light woods, |
medium brown for dark woods) |
|________________________________________|
| |
SEALER/PRIMER (OPTIONAL) |
(Lacquer, sanding sealer, or
or shellac) |
|________________________________________|
|
COLOR COATS (OPTIONAL)
(Tinted clear lacquer, shaded
lacquers, opaque lacquers,
6 coats)
|
|
WET SAND #320 grit
|
|
COLOR COATS
(Tinted clear lacquer, shaded
lacquers, opaque lacquers,
3 coats)
|
|
WET SAND #400 grit
|
|
COLOR COATS
(Tinted clear lacquer, shaded
lacquers, opaque lacquers,
3 coats)
|
|
WET SAND #600 grit
|
|
CLEAR COATS
(Clear lacquer, 4-10 coats)
|
|
WET SAND #1000 grit
|
|
POLISH WITH SOFT CLOTH
AND POLISHING COMPOUND
(Use circular motion)
|
|
POLISH WITH WAX POLISH
NOTE: This is only one possibility of many. Your results may
vary. Refer to one of the books in the Appendix for more
information on finishes, such as sunbursts, etc.
// End of Section X
////////////////////////////////////////////////////////////
==============================
= PART 3 - THE FINAL STEPS =
==============================
XI. Assembly
A.
B.
// End of Section XI
////////////////////////////////////////////////////////////
XII. Setup
A. How do I adjust intonation?
This is a somewhat magical and mystical process. Keep in
mind that the nature of the guitar is such that perfect
intonation along the entire fretboard is all but impossible
to achieve. It is a compromise of sorts. Proper intonation
is achieved by adjusting the length of the string and
checking the tuning at different frets. This is called
"string length compensation". Adjustable bridge saddles
make this possible without too much difficulty (except on
Floyd Rose tremolos, where a special tool makes the job much
simpler).
Here is one way to adjust the intonation:
o Tune the string to pitch using normal methods,
o Check the tuning at the 12th fret,
o If the string is sharp, move the saddle back,
if the string is flat, move the saddle forward,
o Retune to pitch and check the tuning at the 12th fret,
o Repeat until the tuning at the 12th fret is identical to
the open tuning
B. How should I vertically adjust my bridge saddles?
Aside from adjusting the bridge saddles forward or backward
to adjust for intonation, you should also adjust them
vertically to allow for a lower playing action.
Most modern day guitars have a curved radius fingerboard.
Some common radii are 10", 12", and 15". Other, more
expensive fingerboards, have a compound radius which is
about 10" at the nut, and flattens to 15" at the 22nd or
24th fret. Let's assume you have a fixed radius.
If your bridge saddles have vertical adjustment
capabilities, you want their height to approximate the
fingerboard radius. Some tremolos, like Floyd Rose, have
different saddle heights to accommodate this feature. Other
tremolos, such as many by Fender, have a pair of hex-screws
you can turn to raise or lower each saddle.
Fixed bridges have a pair a screws at each end of the bridge
that are used to tilt the bridge. There isn't as much
flexibility in this method, but is should be possible to get
some adjustment.
The idea is to position the bridge height to match the
fingerboard radius. The height will increase for the E, A,
and D (bass) strings, and then decrease for the G, B, and E
(treble) strings. But that's not all...
Since the bass strings are much thicker than the treble
strings, you cannot set both E strings to the same height.
You must raise the bass strings a little to compensate for
their thickness, or buzzing will occur.
You need to experiment with the overall bridge height and
the saddle height the get the lowest possible action.
Fingerboard straightness and fret height also comes into
play. If the fingerboard and frets are properly setup, you
should be able to adjust the saddles to achieve a low
playing action with no buzzing.
Experiment to see how it works.
// End of Section XII
////////////////////////////////////////////////////////////
XIII. Maintenance
A. How often should I replace my strings?
String wear will vary depending on the strings themselves,
the amount of playing, and the type of playing. If you play
every day, or if you play hard and sweat a lot (like during
a performance), your strings will wear more quickly. The
easiest way to slow down the process is to have clean hands
when you start to play and thoroughly wipe the strings clean
after each session. Actually, you should wipe down the body
and neck after every session whether it is a performance or
not. The oils from your body will build up cloud the
appearance of the guitar and dull the strings.
The loss of brightness is, however, inevitable. You can
slow the process, but eventually, the strings will sound
dull and lifeless.
If you play every day, but only for yourself, replace the
strings every 3-4 weeks or when you feel they have lost
their brilliance past what you can stand.
If you are performing for an audience, put new strings on
before each show. Remember to stretch them out thoroughly
so they stay in tune!!
There's nothing quite as pleasant to the ears as a fresh set
of strings.
B. When I should I reset my intonation?
Once the intonation has been *properly* set you shouldn't
have to set it again. However, if you decide to mess around
with the bridge, you have to be careful that you return it
to the properly set position.
You *should* reset the intonation whenever you switch string
sizes (light, extra-light, medium, etc). Another
possibility, if you play a lot and your guitar gets a good
workout, about once a year should also do the trick.
C. What is the best way to polish the frets?
One way to polish the frets follows this schedule:
o Use the black wet/dry sandpaper (dry) starting at about
600 grit. Work the top layer of buildup off with 600 and
then move to 1000 and repeat. You might want to use up to
1500 grit. Also, mask the fret board with tape to prevent
damage.
o Next, use the synthetic steel wool (equivalent) to about
000 or 0000 grade steel wool. Use the synthic type so that
the steel wool "filings" don't get into the pickups, etc.
o Finally, use a buffing compound and preferably a Dremel
Moto tool to polish the frets to a shine. Check your local
harware supply store for appropriate compounds.
D. How do I pull a fret?
This is one of those cases where the proper tool is a must.
You can purchase fret pullers from Stewart-MacDonald's. Be
aware though, that there is a fret puller tool and a fret nipper
tool. The fret puller tool is optimized for pulling frets
(hence the name). It has smaller jaws which allow for
more accurate grabbing under the frets. The nipper will do
the job too, but be aware of the difference.
Basically, to pull a fret, work the tool underneath the fret
at one end and rock it back and forth slowly until the fret
starts to come out of the fingerboard. Move to the
opposite end of the fret and do the same. Switch from end
to end and work your way to the middle of the fret. Take your
time with this process, the fingerboard will easily
chip if you rush.
Here's some tips on making this process easier:
o Use a very sharp exacto knife to score the fingerboard
along the fret edges. This will provide a limit for the
fingerboard in case in starts to chip. This will reduce
the amount of damage.
o If the frets are glued in, you need to heat the fret to
loosen the glue. A soldering iron is good for this
purpose. Press the iron to the fret and allow the fret
to heat up. This will in turn loosen the glue. Pull
the fret out while the glue is hot. Then use a knife or
needle file to clean out the glue residue.
E. What is a fret job?
A fret job, usually needed when the frets have worn out
unevenly and start to cause buzzing, consists of the
following procedures:
o Level frets - this involves using a fret-leveling plane
and some sandpaper to get all the frets an equal height.
o Crown frets - after leveling, you need to "recrown" the
frets to their original shape. This involes using a
fret crowning file on each fret to round the surface.
o Polish frets - see step XII.C for a description of fret
polishing.
Practice fret jobs on garage-sale specials before you work
on your most prized vintage guitar.
// End of Section XII
////////////////////////////////////////////////////////////
==============================
= Part 4 - Tips and Tricks =
==============================
This section is for tips and tricks from readers who have
encountered some aspect of guitar building they wish to
share.
A. Pre-drill humbucker corners before routing.
[Contributed by: wyza@aol.com]
If you are using routing template, like the ones from
Stewart-MacDonald, it is helpful to drill the rounded
corners of the template before routing the cavity into the
body. These corners are 1/4 inch diameter and you can use a
1/4 inch drill bit to get a smooth edge. Just position the
bit to drill the individual corner and you'll geta very
smooth edge that would much more difficult with the standard
router bits.
Also, you can use larger bits to remove some wood before
routing the remaining cavity. Just watch your depth.
B. Routing
[Contribution by: miker@primenet.com (Mike Rejsa)]
The best way to use a router is to get/make a clear plastic
template, and use the kind of bits that can be guided around
the hole in this template. I use a 'bearing bit' from Stewart-
MacDonalds and it worked great, ***once I learned how to do
it***!
1. Make sure the bearing is turning freely - my first one
was stuck and nearly started a fire.
2. Be sure you adjust the height of the bit to cut clear
thru the surface of the wood. Yes, this means it looks like
the bit may cut the template... in practice, it doesn't. If
you set the bit too far into the wood you 'undermine' the
surface of the wood and things get hot and tough to do. I
set the line between my bearing and the cutting edge about
halfway thru the template.
3. ***DO NOT*** plan on making your first cut all the way
around the perimiter of the template! If you make a long
bit-width cut like this, the track becomes clogged with
wood, the bit gets hot, and is hard to move. Instead, start
in the middle of the area to be removed, and move around in
a little circle. Make short passes along the edge and then
swing back to widen the removed area. This has two
advantages: it lets the wood chips get blown out, and the
bearing is not riding the edge all the time and so does not
get as hot.
C. Bridge Location (for a fixed bridge)
[Contribution by: miker@primenet.com (Mike Rejsa)]
If possible, construct the guitar to the point of having the
neck and tailpiece bolted on before positioning the bridge.
Make yourself a pencil mark in the measured position where
the bridge should be. Adjust all intonation saddles to
center. Then string it up, and set the intonation as close
as possible by sliding the bridge back and forth. Once you
have it as good as you can get it, mark the position and
install the bridge there. (It may even end up at a slant.
This is ok, if its what the guitar needs.)
Note: If you are using a Strat or Tele bridge, usually
measuring is good enough. Go measure a real one and put your
bridge in the same place.
D. Bridge pickup location
[Contribution by: miker@primenet.com (Mike Rejsa)]
If you are using Strat parts, borrow a standard Strat
pickguard and use it to trace the pickup locations onto your
guitar body.
If you are using humbuckers, wait until after your bridge is
installed, and then locate the pickup a certain distance
from the bridge, based on measuring guitars whose sound you
like. For example, from the intonation center of the bridge
to the closest edge of the pickup frame is about 5/8" on an
SG, about 3/4" on a Les Paul Custom, about 9/16" on a Les
Paul Standard, and over 1" on an Epiphone Flying V I've
measured. This has an effect on the sound your bridge pickup
gives!
E. Centerline
[Contribution by: miker@primenet.com (Mike Rejsa)]
Always work off of a pencil line down the center of your
guitar body. Center pickups, bridges, neck routings, etc.
along this line.
A good way to line up your neck is to tape a piece of string
to the top of the neck so it crosses the center where the
nut will be. Run the string down to the centerline by where
the tailpiece will be. By lining up this string down the
position dots on the neck, you can tell when the neck is
lined up with your centerline. I do this to locate the neck
route and also when marking the screw holes in the neck.
F. Sandpaper
[Contribution by: miker@primenet.com (Mike Rejsa)]
Sanding goes *lots* faster when you use lots of grades.
Start with coarse, sand a few minutes, and move on down a
step at a time until you are using the finest paper. Be
careful when using belt sanders - they remove a lot of
guitar very quickly!
G. Strengthen a floating tremolo mounting.
[Contributed by: hawley@adobe.com (Steve Hawley)]
Here's a trick I learned from my local luthier for mounting
floating bringes in bodies with pre-routed pickup chambers:
Remove as much finish as you can in the tremolo cavity and
drill the holes for the posts. Saturate the exposed wood
with cyanoacrylate (Krazy Glue - the really watery stuff).
I mean SOAK. Leave the body to set for a day. You have now
turned the wood in that area effectively into stone. As
such it will improve sustain and prevent the wood in front
of the bridge pins from collapsing into the pickup cavity.
H. More tips on routing.
[Contributed by: sasaki@netopd.harvard.edu. (Marty Sasaki)]
o Each pass of the router should only remove a small amount
of material. Doing a full depth cut is asking for trouble.
o Use other tools to remove large quantities of wood. If you
have a drill press, remove the bulk of the wood using a large
bit. Chisels work well too.
o If the hole goes all of the way through, you can drill a hole
and use a jig saw to cut most of the wood away.
o Once you are close, use a router to finish off the edges.
o If the router is your only tool to make holes, then make many
passes with the router, each about 1/8 inch greater than the
pass before.
====================================
= Part 5 - Pitfalls and Problems =
====================================
This section is for pitfalls and problems from readers who
have encountered some pitfalls of guitar building they wish
to share. Maybe reading these will help you avoid the same
problems.
A. Bandsaw too small. [Contributed by: wyza@aol.com]
When I first started out, I had no tools to speak of, so I
bought a Sears special 10 in. bandsaw. Seemed like it would
do the job, and the price was right. Here's what happened
to me:
At first everything was ok, until I bought some Eastern Hard
Maple. This wood was just a little too hard for the small
bandsaw. The blade kept binding and catching in the
channel, and I spent half my time prying the wood apart and
getting the blade free. I broke several blades and had very
poor cuts.
Also, this size bandsaw has a small tray table on which to
lay the wood. Well, my blank was 13" wide and 20" long and
was an 8 quarter piece. This is one heavy chunk of wood. I
used the tray to support the wood while I cut. After
struggling with the blades I finally cut the shape
completely out. Then I stood the wood up on its side to
view the profile and guess what? It leaned to the side.
The wood was so heavy and the tray table was too weak to
support it properly. None of my cuts were square since the
table leaned down under the weight of the wood blank. I
spent the next 2 hours trying to sand it square with a belt
sander.
I have since used some small pieces of 2x4 cut to fit under
the tray to add support while cutting. It helps, but it's
still not ideal.
B. Drill press too small. [Contributed by: wyza@aol.com]
I had a similar problem with a Sears 8 inch drill press. It
simply wasn't powerful enough to make good clean holes
through such hard wood. The bit often got jammed in the
wood.
Also, the distance from the center of the bit to the edge of
the support post was too short to reach some of the inner
holes of the body. For example, the bit wouldn't reach the
holes necessary for the bridge pickup cover. I had to
freehand two of them.
C. Trouble with painting area.
[Contributed by: wyza@aol.com]
I discovered one problem with my work area right away when
finishing my first guitar. Like many, I used my garage to
build my guitars. Well, you can imagine the dust and debris
that flys around after sawing, sanding, and routing all day.
Even after waiting for the dust to settle, there's the
problem of ventilation and the smell. Also, if you have a
freshly painted guitar in the garage, where are you going to
work on the next one? I had to stop building for weeks
while this guitar cured.
I have since farmed out the painting process to a friend so
I can just build.
D. Paint build-up
[Contributed by: wyza@aol.com]
When finishing a guitar you must take care to prevent paint
build-up around the screw holes. What can happen is, if there
is enough paint overhanging into the hole, the paint may chip
when you assemble the guitar (I saw this first hand unfortunately).
One way to prevent this is to plug the holes before spraying.
A clay or putty of some other soft material that is easily
removed could be used.
If the problem already exists you could redrill the hole to
clean out the paint or scrape it away, but this only works
to a small degree. You would rather prevent the problem by
plugging the holes or cleaning them out after each set of coats
to limit the build up.
It is also important to use a sealer of some kind to prevent
moisture from getting into the wood and causing it to expand and
then crack the paint.
============================================================
== APPENDICES ==
============================================================
Appendix A. Wood Suppliers
The following is a list of wood suppliers:
EXOTIC WOODS COMPANY, INC.
PO Box 532
Sicklerville, NJ 08081
800.443.9296
609.728.5555
609.728.6262 (fax)
COMMENTS: Wide selection of fingerboards, backs, sides,
neck blanks. Carries many exotic woods.
See also LUTHIER'S MERCANTILE INTERNATIONAL, INC. in
Appendix B.
PACIFIC RIM TONEWOODS
420 16th St.
Bellingham, WA 98225
206.826.6101
206.826.6046 (fax)
COMMENTS : Minimum order is $200 exclusive of shipping.
See also STEWART-MACDONALD in Appendix B.
SUNDANCE TONEWOODS
341 W. Broadway, Suite 329
San Diego, CA 92101-3882
619.726.0610
See also WARMOTH in Appendix B.
Appendix B. Parts Suppliers
The following is a list of guitar parts suppliers:
ALL-PARTS
PO Box 1318
Katy, TX 77492
800.327.8942
713.391.0637
713.391.7922 (fax)
COMMENTS:
ART SPECIALTIES INTERNATIONAL, INC
PO Box 215
Depew, NY 14043
800.724.1002
716.684.3695
COMMENTS: Supplier of Corion (used for nuts).
CHANDLER INDUSTRIES
5901 9th St.
San Francisco, CA 94107
xxx.xxx.xxxx
COMMENTS:
THE LUTHIERIE
2449 W. Saugerties Rd.
Saugerties, NY 12477
xxx.xxx.xxxx
COMMENTS:
LUTHIER'S MERCANTILE INTERNATIONAL, INC
Box 774
412 Moore Lane
Healdsburg, CA 95448
800.477.4437
707.433.1823
707.433.8802 (fax)
Catalog: $19.95, but is well worth the price.
COMMENTS: The catalog is much more of a handbook
than just a catalog. It is about 200 pages long
and is filled with articles, information, and
products. It is three-holed drilled for binding.
In my opinion, a must have.
MUSICIAN'S FRIEND DISCOUNT CATALOG
Box 4520
Medford, OR 97501
800.776.5137
Catalog : $4.00. Once you order and get on the mailing
list, the catalogs will come for free.
COMMENTS: Good service. You can get tremolos, pickups,
strings, tuners, and a few novelty tools, but that's about
it for builders.
STEWART-MACDONALD GUITAR SHOP SUPPLY
21 N. Shafer St.
Box 900
Athens, OH 45701
800.848.2273 (US and Canada)
614.592.3021
614.593.7922 (fax)
Hours: 9-7 weekdays, U.S. eastern time
Catalog : They send you a catalog with every order. If you
order a lot, you'll have so many you can't keep track of
them.
COMMENTS: Excellent service, great prices, excellent
quality parts and tools. Carries every replacement part and
tool, plus books and videos, and replacement bodies and
necks.
WARMOTH GUITAR PRODUCTS
6424 112th St. E.
Puyallup, WA 98373
206.845.0403
206.848.2415 (fax)
Catalog : $2.00
COMMENTS: Good quality, higher prices, smaller selection of
parts, fewer tools. Specializes in ready-to-finish/assemble
bodies and necks.
WD MUSIC PRODUCTS
261-D Suburban Ave.
Deer Park, NY 11719
813.337.7575
813.337.4585 (fax)
COMMENTS:
WOODWORKER'S DREAM
Box 329
10 W. North St.
Nazareth, PA 18064
xxx.xxx.xxxx
COMMENTS:
WOOD 'N' GUITARS
PO Box 328
Honesdale, PA 18431
717.253.1620
717.253.4941 (fax)
COMMENTS: Replacement bodies and body blanks.
Appendix C. Tools And Materials
There are many common and specialized tools used in the
craft of guitar building. They range from the simplest
files to computerized CNC machines which do all the work for
you. The list that follows includes some of the tools, and
some of their uses, for guitar builders. It is in no
particular order. You can select from the list as you see
fit for your specific project. The cost of each tool
will vary depending on the retailer from where it is
purchased.
TOOL USE
------------------------ ------------------------
(** BASIC TOOLS **)
Straight edge, 18 in. Checking fingerboard
straightness
Steel ruler Measuring fret spacing
Pencils Marking wood layouts and
measurements
Square Squaring lines on
drawings, wood, &
parts
Clamps (various) Holding laminations
Spokeshaves Shaping neck
Wood rasps Shaping neck and body
contours
Chisels Removing excess wood from
cavities
Files (various) Shaping wood, bevelling
frets, detail filing
Coping saw Various cutting jobs
Hack saw Various cutting jobs
Dovetail saw Cutting fret slots
Screwdrivers Mounting harware
Pliers Bending fret wire,
holding parts,
tightening bolts
Socket set Mounting hardware
Masking tape Covering parts during
finish
Double stick tape Holding router templates
Titebond glue Laminating wood,
installing inlays
Lacquers (colored, clear) Painting, finishing
Stains Staining, finishing
Soldering iron (+ supplies) Installing electronics
(** POWER TOOLS **)
Band Saw (10 in. minimum) Cutting body and neck
shapes
Drill, drill press (+bits) Drilling screw holes,
removing wood
Router (+bits) Cutting cavities
Detail sander Sanding difficult areas
Hand sander Basic sanding jobs
Small belt sander Larger sanding jobs
Sand paper (see grits below)
60, 80, 120, 150, 220 Rough to final sanding
320, 400, 600, 100 (wet/dry) Finish sanding
Dremel moto-tool (+bits) Inlay routing, detail
routing, polishing
(** SPECIAL TOOLs **)
Fretboard radius sanding blocks Sanding the fretboard to
a specific radius
Fret file Reshaping frets
Fret nippers Cutting fret wire
Fret puller Pulling frets
Fret hammer Installing frets
Fret planes (w/paper) Leveling fingerboard,
frets
Fret slotting saw Cutting fret slots
Fret dressing file Crowning and shaping
frets
Router templates Accurate cavity routing
Pickup, tremolo,
Electronics cavity
Precision nut files (set) Filing string slots in
nut
Appendix D. Fret Spacing Tables
Here are the fret locations for a 25 1/2 in. scale guitar:
Fret Interval To Bridge
1 1.431 -
2 1.351 -
3 1.275 -
4 1.203 -
5 1.136 -
6 1.072 -
7 1.012 -
8 0.955 -
9 0.901 -
10 0.851 -
11 0.803 -
12 0.758 12.750
13 0.715 12.034
14 0.675 11.359
15 0.637 10.721
16 0.602 10.119
17 0.567 9.552
18 0.536 9.015
19 0.506 8.509
20 0.478 8.031
21 0.451 7.581
22 0.425 7.156
23 0.402 6.754
24 0.379 6.375
Here are the fret locations for a 24 3/4 in. scale guitar:
Fret Interval To Bridge
1 1.389 -
2 1.311 -
3 1.237 -
4 1.168 -
5 1.102 -
6 1.040 -
7 0.982 -
8 0.927 -
9 0.875 -
10 0.826 -
11 0.779 -
12 0.736 12.375
13 0.694 11.680
14 0.655 11.024
15 0.618 10.406
16 0.584 9.821
17 0.551 9.271
18 0.520 8.750
19 0.491 8.295
20 0.463 7.796
21 0.437 7.385
22 0.413 6.945
23 0.389 6.555
24 0.368 6.187
Appendix E. Books On Guitar Building
There are numerous books that cover all the aspects of
guitar building. The list below contains some of the more
popular books. Most are available from Stewart-MacDonald's
Guitar Shop Supply, and the prices shown are from their
catalog, unless otherwise listed.
*** Construction: ***
BUILD YOUR OWN ELECTRIC GUITAR
by Bill Foley
"Written to help you assemble guitars from prefinished
parts. Includes helpful suggestions for choosing pickups,
tips on Khaler and Floyd Rose tremolo installations, wiring
diagrams, fret and string nut preparation, intonation
adjustment and general set-up techniques." [99 pages, soft
cover, $19.95]
COMMENTS:
CONSTRUCTING A SOLID BODY GUITAR
by Roger H. Siminoff
"Instructions for making and finishing the wooden parts of
an electric guitar with a bolt-on neck are extensively
illustrated. Includes full sized working drawings with a
special full-color illustrated section on staining and
finishing. Covers everything from raw wood selection to
final hardware installation and wiring." [60 pages, soft
cover, $16.95]
COMMENTS: Good step-by-step instructions and illustrations.
Easy to follow and read.
CUSTOMIZING YOUR ELECTRIC GUITAR
by Adrian Legg
"Covers basic set-up (action, nut and intonation adjustment)
and fret dressing. Explore Gibson and fender pickups and
wiring arrangements, custom coil tapping, phase reversal,
series/parallel and stereo wiring, active (on-board)
electronics, shielding and switching. Numerous wiring
diagrams and photos included." [64 pages, soft cover,
$10.95]
COMMENTS:
MAKE YOUR OWN ELECTRIC GUITAR
by Melvin Hiscock
"Instructions on using hand and power tools, with basic
woodworking skills to create custom solid body guitars.
Construction and jig-making for glue-in, bolt-on, and
straight-thru necks are discussed and illustrated, with all
the steps from wood selection to lacquering to custom
wiring." [160 pages, soft cover, $16.95]
COMMENTS: Very thorough book with 3 examples: A
telecaster-type, a Gibson type, and a bass guitar (neck
through).
MAKING AN ARCH TOP GUITAR
by Robert Benedetto
"The definitive book and constructing an acoustic arch top
guitar. Wood selection, tap tuning, bracing finishing,
marketing." [280 pages, 8.5 x 11 in. format, $39.95]
COMMENTS: Order with check or money order payable to Robert
Benedetto, from Robert Benedetto
RR 1 Box 1347
E. Stroudsburg, PA 18301
Phone: 717.223.0883
Tax: PA residents add 6% sales tax
Shipping: $5.00 USA, $8.50 Canada, $20.00 Overseas
*** Repair/Setup: ***
COMPLETE GUITAR REPAIR
by Hideo Kamimoto
"A useful and popular illustrated guide to the repair,
adjustment, and maintenance of acoustic and electric
guitars. Explains refretting, neck and truss rod
adjustment, bridge re-gluing, crack repairs, refinishing and
more. A helpful series of fret scale charts in included."
[160 pages, soft cover], $16.95]
COMMENTS:
DO-IT-YOURSELF GUITAR REPAIR
by Pieter Fillet
"A compact book written for the musician or dealer who
requires basic practical instruction on guitar setup and
adjustment procedures. Features over 170 photographs and
diagrams with concise explanations of shop procedures to
make a guitar play accurately. Covers the fundamentals of
fret, neck, string action, nut and bridge adjustments, and
provides helpful tips on buying a guitar." [63 pages, soft
cover, $4.95]
COMMENTS:
ELECTRIC GUITAR SETUPS
by Hideo Kamimoto
"A guide to essential set-up work, focusing on action,
pickups, intonation adjustment for guitars and basses.
Includes set-up tips for Fender, Gibson, and other models;
fret leveling, tuning methods, locking tremolo tips, and an
extensive look at bridge design." [84 pages, soft cover,
$16.95]
COMMENTS:
GUITAR PLAYER REPAIR GUIDE
by Dan Erlewine
"The most complete and thorough manual on guitar repairs and
adjustments. Includes: Evaluating the instrument, truss-
rod, action, and intonation adjustment, electric and
acoustic bridge saddles, nut replacement, fret dressing and
replacement, installing tuners and tremolos, finishing &
touch-ups, fixing cracks, braces, peg heads,and bridges,
neck resetting, guitar electronics, replacing and repairing
pickups, switches, pots, and wiring." [309 pages, soft
cover, $22.95]
COMMENTS: Superb in quality, content, and readability.
*** Technology: ***
MANUAL OF GUITAR TECHNOLOGY
by Franz Jahnel
"The result of a lifetime of study with European masters,
with a large 229 page format and a price aimed squarely at
the serious builders. Extremely detailed scientific
information on acoustic principles in traditional guitar
making, including chemical properties of finishing
materials, string making, formulas for vibration and scale
properties, a 24 page technical chart of over 300 wood
species, construction plans for classical guitars, steel
string and carved top jazz guitars and more." [229 pages,
tbdcover, $139.50]
COMMENTS: A techno's dream book.
*** Wood/Wood Finishing: ***
(The following are available from Stewart-MacDonald's Guitar
Shop Supply)
ENCYCLOPEDIA OF WOOD
by Aidan Walker
"A directory of more than 150 of the world's most popular
and beautiful timbers. Samples of each species are shown in
color, with information on geographical distribution,
physical properties (including density, stiffness,
workability, and bending strength) and uses. Filled with
beautiful color photography and wood lore." [192 pages,
hard cover, $29.95]
COMMENTS:
THE WOOD FINISHING BOOK
by Michael Dresdner
"A design engineer at Martin Guitars and a contributor to
Fine Woodworking magazine, Dresdner also has over 20 years
of experience in finishing trades. He offers practical
solutions to wood finishing problems, and reveals what's
actually inside brand name finish formulations.
Preparation, coloring, application, and finish repairs
are also discussed." [213 pages, soft cover, $24.95]
COMMENTS:
UNDERSTANDING WOOD FINISHING
by Bob Flexner
"Exceptionally well organized and illustrated, this book
will help you solve most finishing problems. Based on an
extensive knowledge of the chemistry of finishing materials,
it features comprehensive coverage of traditional finishes
and touch-ups, and new water-based finishes too. Highly
recommended." [310 pages, hard cover, $27.95]
COMMENTS:
UNDERSTANDING WOOD
by Bruce Hoadley
"A wealth of scientific knowledge about wood, written for
the individual woodworker. Essential for the serious
luthier. Explain species identification and
characteristics; the effects of moisture; drying your own
wood; strength properties; effects of machining, joining,
bending, and finishing; lumber grading; processing and
terminology." [256 pages, hard cover, $31.95]
COMMENTS:
WOOD FINISHER'S HANDBOOK
by Sam Allen
"A guide to the preparation and finishing of new wood, and
the repair of previously finished wood surfaces. Over 150
photographs and drawings demonstrate modern and traditional
techniques. Allen explains the use of finishing tools
(brushes, spray equipment, papers and scrapers), staining
and filling, topcoats, colors, rubbing and antiquing."
[160 pages, soft cover, $12.95]
COMMENTS:
WOOD FINISHING WITH GEORGE FRANK
by George Frank
"A step-by-step guide covering every aspect of wood
finishing, from stains, dyes and chemical treatments and
waxes, varnishes, and oils. Over 80 color photos illustrate
the effects of various finishing media and techniques. An
extensive section on french polishing is featured." [144
pages, soft cover, $14.95]
COMMENTS:
Appendix F. Videos On Guitar Building
DAN ERLEWINE'S VIDEO GUITAR REPAIR COURSE (8 volumes)
(See Stewart-MacDonald Guitar Shop Supply)
1. Bread and Butter Jobs - Set-ups, part installation &
customerservice
2. Yard Sale Specials -
3. Bellyaches - Correcting problems with acoustic tops and
bridges
4. Broken Pegheads
5. Cracking Up - Fixing crack and punctures
6. Acoustic Net Resets
7. Guitar Maintenance and Setup - Basic inspection, set-up
and cleaning.
8. Don't Fret - Complete professional fretting methods.
Each video is $49.95, all 8 is $349.00.
MAKING A SOLID BODY GUITAR
with Dan Erlewine
"Complete details for each step of the project. Plans,
layouts, and materials. Squaring up the wood, constructing
the neck and body, Shaping and sanding, pre-fitting the
hardware, final sanding and finishing, final assembly.
[2 hours, $49.95]]
(See Stewart-MacDonald Guitar Shop Supply)
SPRAY FINISHING BASICS
with Dan Erlewine
"Wood preparation, sanding & scraping techniques, grain
filling, spray techniques, sealer coats, spray guns, air
brushes, sanding, rubbing, and polishing and more..." [90
minutes, $39.95]
(See Stewart-MacDonald Guitar Shop Supply)
SPRAY FINISHING WITH COLORS
with Dan Erlewine
"Lacquer colorants, mixing anilines, choosing a stain,
wiping versus spraying, sunburst finishes, transparent color
finishes, and much more..." [105 minutes, $39.95}
(See Stewart-MacDonald Guitar Shop Supply)
TREMOLO INSTALLATIONS
with Dan Erlewine
"Intensive, fast paced 90 minute video guides you through
the placement, routing, and installation of today's most
popular whammies. You'll learn how to use templates for
cleaner results and you'll see dozens of trick to make the
job easy. Includes: retrofitting a Floyd Rose, installing
a Floyd Rose on a non-tremolo guitar, installing a locking
nut, installing a Khaler and Ibanez tremolo, recessing the
tremolo, tips for adjustment and maintenance." [90 minutes,
$39.95]
(See Stewart-MacDonald Guitar Shop Supply)
Appendix G. Organizations
The following are organizations dedicated to guitar building
and repairing:
ASSOCIATION OF STRINGED INSTRUMENT ARTISANS (ASIA)
14 S. Broad St.
Nazareth, PA 18064
GUILD OF AMERICAN LUTHIERS (GAL)
8222 S. Park. Ave.
Tacoma, WA 98408
Appendix H. Schools
AMERICAN SCHOOL OF LUTHERIE
420 Moore Lane
Healdsburg, CA 95448
707.433.7384
COMMENTS: A one week course, $1000 per person.
APPRENTICE SHOP
PO Box 267
Spring Hill, TN 37174
BRYAN GALLUP'S GUITAR HOSPITAL
10495 Northland Dr.
Big Rapids, MI 49307
RED WING AREA VOCATIONAL TECHNICAL INSTITUTE
Pioneer Rd. at Hwy. 58
Red Wing, MN 55066
RENTON VOCATIONAL TECHNICAL INSTITUTE
3000 NE 4th ST.
Renton, WA 98056
ROBERTO-VENN SCHOOL OF LUTHIER
4011 S. 16th St.
Pheonix, AZ 85040
Appendix I. Sample Cost of A Guitar
Below is a sample cost list for a simple guitar. Remember,
this does not include any tools, glues, sandpaper, or
finishing materials! In many cases, the lower priced items
are chosen, for example, a rosewood fingerboard instead of
ebony. The prices are from Stewart-MacDonald's Guitar Shop
Supply catalog. Your prices may vary.
Item/Part Cost (US $)
====================== ========================
Body wood 57.50 *shop around
(Alder)
Neck Wood 64.20 *can make two
(maple 2x5x30 inches) 1-piece necks
Fret wire (6 feet of Jumbo wire) 10.26
Nut (graph-tech) 4.48
Fingerboard (rosewood, 12 in radius) 17.48
Trussrod 10.99
Trussrod cover 1.54
Trussrod cover screws 0.54
Side dot material 2.97
Pearl inlays (6mm dia) 4.20
Schaller bridge pickup 34.95
Schaller neck pickup 34.95
Pickup mounting rings (2) 6.50
(w/screws and springs)
Control pots (4) 12.88
Pickup selector switch (5-way) 7.88
Capacitors 3.60
Circuit wire (2 feet) 0.31
Control knobs (4) 7.32
Strap locks 9.70
Neck plate (w/screws) 4.86
Jack plate (w/screws) 6.32
Output jack, mono 1.99
Electronics cavity cover plate 8.95
Tremolo cover plate 2.64
Cover plate screws (10) 2.30
Strat tremolo/bridge 39.79
Sperzel Locking tuners (6 inline blk) 63.90
GHS Boomers 4.89
-----------------------
TOTAL $427.89
Assuming the neck blank is cut and laminated to make one
neck, not two.
This price is not too bad when you don't count tools etc.
Also, figure in for sandpaper and paint, which is fairly
small.
THE END
------------------------------------------
GUITAR BUILDERS FAQ
Part I, Electric Guitars
Version 1.7
25 March 1996
Copyright (c) 1995-1996 Bill Wyza
All Rights Reserved
------------------------------------------