mal te ns ‘& ba Der eva eet Be ee nond * |Make Your Own Electric Guitar Dennis Waring and David Raymond with an Introduction to playing by Thomas Randall i SC ea ce Oe Cl CgContent Intioduetion 4 Guitars Through the Ages 5 Constructing a Six-String Guitar Tools and Materials 9 Explanation of Tools 9 Jigs. Templates, and the Router 12 Wood Lore and Selection 12 Design Considerations and Preparalion 13 Body shape 13 Parts ofthe Gultor 14 Headstock Design 15 Neck Considerations 17 Neck/Body Connection Options 19 Neck/Body Angle 19 Bridge types 20 Creating 2 FullSize Paitern 22 ‘The Guilar Body 24 Preparing Wood Stock 24 ‘Making the Pickup’ Neck Pocket Master Template 26 Routing Process for Pickups and Neck Packet 27 Cutting and Shaping the Body 28 outing the Flectionics Compartment 29 Bridge Placement 30 Neck Screw, Femule Holes. and Truss Rod Nut Channel 32 Cavity the Body Contours 32 Neck Pickup Wing Holes 33 Neck and Headstock 34 Wood Preparation 34 The Neck 35 The Headstock 37 The fingeibourd 39 Preparation 39 Gut Fret slots 40 Finwetboord inlays 40 Gluing Fingetboard to Neck 41 Fingerboard arching 42 Initaling Fieis 43 Finishing Fels 44 Fingerboard Side Dots 45 Assemblage 45 Filing Neck 10 Body 45 Tuning Mechanisms 46 The nut 46 Instaling Pekups 45 Electronics Compartment Cover 47 Strings and Setup 48 Finishing 40 Sanding 49 Staining 49 Sealing Woods 50 Crain Fiter 50 Topcoals 50 Rubbing Out and Polishing 51 Finishing the Fingerboard 51 Wex 51 Constructing a Bass Guitar 52 ‘The Neck 53. ‘Truss Red and Headstock 54 Fingerboard and inlays 50 Installing Frets 57 ‘The Body 57 Assembling the Body and Routing for Electronics 58 Pickup Cavities 50 Body Roundover and Body Contours 59 Petting 59 Prefinishing 60 reassembly. 60 Setup 60. Appendix 61 ‘Master Drawings for Guitar and Bass 67 Guitar Patterns 62 Bass Patterns G4 Playing the Electile Gultar and Bass 66 Hectonics 71 Wood and Tene 89 Finishing Options 92 ‘Tool Sharpening 93 Index 96Intr Th ua s probably the-rmost popular musical rstrumert in the ‘world This femarkable device wit ts mary vant fons, has eresed ‘al gengrapcal Boundaries and is now played In an enormous variety ‘of cultural contents. From Ablcan beats ta eazy rete, Ait Pop to ast Indian classical. ts orgoing adaptability srr nities. In recent decades, the election ofthe gular, espctaly In ks solit-bedy fon and the deminance ef America popuar cilture, nave transtonned rusia! sensibities yopelly. Ofer early unites ‘onl variety, he electric guitar has neceme-nne e# te most prominent ‘struments it jze. pop, rock, and wold music today, Altvough mitch has heen writen about the esc gular and is consaucion. there rernlns a Himes amount of practical mata ‘within reach of the amateur woodworker This hook enyptastins ecessiily. a Gear, methoctca step-by-step process reser in dracive,functiana’insrumwnts. ying commen woec>uorkingt 008, easyo-onder materials, and avaliable resources toy finding fletronie cammponents and other hardware, ths wolurne provides all. ‘heryecessaty Information for ie aspiieg instumiert maker and those seeking a bettas understanding ofthe instimert tn adgtion to Instuctios for building a stance fst sold bbooy made! kar, there are directions far making an electri bass gua. The kita section contains detailed ascusseass a major procedures common to teh guitar and bess. Options ard reteceiees {ot further eweopment and enharicement are found ithe Appendhe ‘this took Hectic gular and basses are excelist vehices fr reat tn bot bull ane paying, Every aspect of thelr design fiom the shape to the eetronics 6 the materia they are made fron, open 10 tinkering. cestomizatin, cr alloutFevoltion, Salle body elec Instruments present a unique aryalgarnarion, eambining he oldest ‘lements of musical insttumert making knowleage, a ‘bestoF selection ‘arn te history of electronics. stunnirg visual design. anda capacity to Incorpoule new ideas. Tougduk the short history, these ‘ntruments have benef trom the efforts of irowators represering teny dlverse bockyyoundls- lected engineers, aerospace technicians, fine woodworkers, aris, and even thoss seeking ceaper means of ‘ass-proctton have contrbued enormeusty to te advancement of the lect guitar and bss. The result fsa unigue opportunity 1 the Dulidss personal expression ort mary vel. (Oe reason forthe constant advancamtont of elect: srlaged Instrument oesign isthe aecessint ofthe constructon process. White technology has made t more difieul ‘or the average pesson to une lek car OF x household apptances, not to mention Pull beter ‘versions ofthese tems, slectc guts and basses ofthe highest quay comme tobe tule by inaviduals tn home werkshons These Instruments te rately simp, rational, ane ten oid feshiones teernologes to generate sounds tnot continuous challenge and excite bot players and Ksterers. People sash to ener this fel today have access to resources Hat were untezmned ata decade ag A large vary of tools, hardware, eleésanics and wood Is walls fran ‘number ot sectaly supplies, ard the Internet has broupht a rovokiton hy ceess to information, leas, and experiences OF Irena 4 ction allover he worl. This unique combanaton of new or od makes these Fotrames among the most ewardng prs Othe rete srecalyiete ee “is book ches he process of buon an sleeie Rta and bass The tris are esr! usta he fondo fect uitar a bass consti, Step-nystep precedes proce intrest ane stahtonard bu of hgh quay Whe any dhe eps require doumiryprecse operations they ae faced by the se offs. pater, ar! templates that iw he pain, erst beget 10 proce protessoral rests, Our is uctons serve as an inition vo etre of shop proces and robles ng se Used by mace nstumect ake "The to Insets edn ns book tte w comknan et raaional ard moi ces fentues. They ae capable ct a vide range of icles wit verse yet acess electronic and Pickup Caves Pater sia A rial plokip cavity and 8 aiea writer pichup legs “The Master Template is used! for routing the neck packet and {wo pickup cavites in the guitar body, We make & from 7 in thick masonite because its Inexpensive, available, ang easy to work {you wish, guttar supply companies sell pre- ‘machined templates) Buy enough masonite for two thicknesses of temipiate materlal necessary 10 complete the routing procedure. Routing wi be macke with « % in steph router Bit wlth a ‘matching halt bearing guide and a long shank capable of cutting 1% in cep (see Jigs, Templates, and the Rovter, p 2) CG ane thickness of masonite 20 In x 14 In, Mark @ 35 Determining the heel Shope 36 Ourboay with luneanveet fee and finished body Fervule notes are dilied when Wo! is stifscuare, to sition them ‘evenly. tndividual depts match heel contour 37 Setting del press depth stop 38 Dring ferie holes 42 Marking he hoot charter 39 Finished ferle hoves. wih varied holes Determine the shape of the hee chamfer and draw a guide on the sides of the heel area (Fig 35). Do not remove too much wood around this area. A sitong neck ody joint is important to the tone of the instrument (Fig 30) nee the chamfer guideline is drawn use it to mark the appropriate depth of each ferrute hale, Set the depity-stop on the dell press accordingly (Fig 37). Drill each ferrule hole with a % in Forsiaer Di, to the predetermined depths (Fig 38 39), With Sein bit, dill a have for each neck scree in the center of each ferrule hole, through to the neck pocke' (Fig 40}, Rout or chisel @ small channel for the truss rod adjustment nut (Fig 41}. you wish, this may be dane fates, once the neck is ready to be fitted to the hody. 41 Tussred chara! 40 pruitig neck screw Heol ehomfer (Fig 42.43, 44), back contour Fig 45, 46,47 and ann bevel ig 48) may row be carved using spokeshaves, drawknives, Scrapers, and sanding Hosks Testi cach area for ‘maximum comfort and pleyabiity (Fig 49). Final adjustments may be made once the instrument Is assembled and teststiung before finishing 483, 14 Carving the hee chamfer46 Garvie the back contour with a Spokeshave © Dil fouhxtes m the Doody for the electric wining: (1) a hale eto the electronics compartment (or the output Jack, (2, 3) “ia tve dectncs compartirent ito the pickup caves, “ani one ‘rom underneath the hridge tothe electronics “érnpariment tox a ground whe. “heaps lack note passes straight through the side of tye Wodjat he lower bout. Orit the Output fark hole with a7 Deion one tat sts coves) A Forse: LIS est fot this “8 Fis 501 be caretut rot 10 chip the edges of the hokes sg the eectrosocke Jack mount cover has vety Hie “avenap. Dit hefe connecting te electrontes compartment ang Aw pec pedup cava wits « 12 in tons, am ti ig SH, “Tee pases irreugh the output jack hate to keep ib ‘pale! tothe top oF the Doty, The hole should interseet tne Pickup cavity inthe comer closest to the electronics MeN: Lorate this point on the back ofthe Dody and aA tt clecle axauind it he hack of the hocy above the oulput jack Mole, mark Hines representing. ts outside edges Alig a streighietge ese of he Yin circle and the output jack hole 481 Carving the orm Deve) 47 Seriting the back contour smooth wa an eraser asa soning block, Flex te eraser sighity for concave curves P| # 449 Testing the contours in pleying position 50 Output jack hote aad Forster bit 5% (right) Setlra up to cll tne neck pickup whing fate, The cecte fraund the entry point wil et you see f te bit hits off comer as stort te note and diaw a tine, Repeat on the other side of the A in citcte ‘These two fines vepresent me path of he bi. "This hole is tiled “ in from the top of the hody ‘0 intersect the bottom, ‘of the neck pickup cavity. Our body is Yi holes ck, nthe ition Ue back OF the instiament Prot a point on. the electronics compartment wall between the two drawn fines, 7% iv Avon the black Draws crasshaits at this point ‘and pre’punch It using an atS2Thebt enenging bo the pickup. cavity 53 Dailing the bridge pickup wiring tole 54 Driting ihe ground wire hole Visit your local harewood dealer to select wood for the guitar neck oF find @ mall order company that carries specialty woods. Choose the wend carefully (gee Appendix: Wood and Tone p 89}. Make a one-piece neck with a separate fingerboard, This produces excellent results with minimum difficulty, We use maple for our guitar neck raw an actual-size side view ane top view of the neck on paper or pasterboard to use as templates. The neck blank, should havea final thickness of 1 in, Depenling on the 34 Make a dri guide for the output jack hole to help control the long bit by covering the hole with-thick tape metal shielaing tape works well and cutting a 4 tn hole. 6 in. rom the back (Fig 51) thsert tne cl bit through the hole (n the tape and stat tin the pre punched hole. Be especially careful begining the hole i the compartment wall is at more than a slight angle 40 the trajectory oF te ail it, Just alter the bit break the surface, check the crosshairs. 3 the bit has been deNected off center, compensate with the same deflection atthe taped ‘output jack hile, Once the hole Is hegun. turn the body aver to see when the bi emerges into the pickup cavity (Fig 52). Drill slowly and Clear the bit of chips frequently s0 the drill bit wil come. out a the right place ‘i ajwiher connecting hoe front the bridge pickup eanty to the electronies compartment. Use the 12 in tong, it, ‘mamaiing as ow an angle as possble without hitting the ‘apponite edge of the pickup cavity (Fig 53), This hole is about 2 in lang. Dill slowly as the dl breaks ‘to the lectronies compartment 0 mlainice chipping, ‘The last hofe is drilled from beneeatty the bridge into the electronics compartment, this time using a 12.19 fang. ‘in Bit The hole is located hetween the sing holes and the neck-side edge of the bridge: fowards the elecronis compartment (at left, Since the hole is at an extreme. ‘angle, there fs 8 danger of the aril bit skipping over the face when attempling to start the ole. Use a vertical Ie in pilot hove Yin deep to help prevent this headstock design, the vera neck lena beeen 26 ‘and 27 in, Leave an extra Ip for 0 working margin for total stock longi of 32 in A a in margin shouldbe let a the body endl oF the neck blank io help support the router ‘when eventually routing the truss rod slot Cu the neck biank to fengih. The width of the neck blank should accommodate the width of the: headstock design Note Since tetallers measure wood in its rough sawn site thickness is expressed in quarters of an inch, 14 n equals 14 jn. This is a nominal thickness: toa Usually fess, For 1 in thickness, you aray have to buy 2 piece:Plane-the board toa 1 in thickness making sure the: fhgetooard side is pertecty tla. Joint the bass side edge ol he blank Place the neck pattern on the neck blank to Ahecshow the neck design velates to the grain _ Grfiguaion, Tra cerertine up the neck blank para (othe jointed ‘ae he board This wil Hep in centering the neck ‘epalyan wl act asa gulde in outing te chanel for “hers 1 jabove) Transfering neck cutie to wood 2 Hand saw ether side of neck the neck template, bansfer the neck design to he. isl (Fg 1). five band sav, remove wood from either side of the TEK between the nut to about 3 in from the end of the: 1F2). The two enus of the neck are left full width for step In the process, a Sw in working margin on either side of the neck G3). -Viravknife and spokeshave to rough-earve the back of sk eaving “4 tn to Yn in extra for later removal (Hg. 4, 3 Bind saw, Since most harchwoods will move slightly after cutting, heck outine ‘enstan in the wood will be Inmediately released at | A at-sawm piece of maple will usually bow ‘back (fol the fingerboard side as the wood Is "movement. Wait a few cays for the neck to ‘aay guitar companies wait months after rough necks betore proceeding if the neck. lay a ruler oF other straightedge fate Of the bank to check for warpage (Fig 7). acer nener 5 (above right) Rouigh-canving ech with spokestare 6 left Checking jor moverenc neck 7 nant Neck ece was Jt before caving, bowed afterCheck the neck periodically for movement. Once tthas appeared t0 stable, resurface the top if necessary to 8 fight) Loying out wuss fnsure thal it ls periectly flat. A wel-adjusted joiner or rou postion long sending oar are useful 10" is acess. cane once it fat, reeraw dhe centrtine and mark the spneten tenth ofthe tase rod and ts fd chan on he 10 ower right) Router wood (Fe 8 guide in place on rieck ‘Due truss rod requires a channel “es in wide and “Ain deep with a small wicening of the chunnet at the body end at Ive neck blank foy he fuss tod adjusting wheel (Fig 9) Set tp a strip of wood as a fence exactly parallel to the centerline of the neck fFig 10), The rouler edge guide moves along this fence to insure a straight fine Screvr the ferice to the heck blank at a contact point oubide the neck ouitine (ig 11). The fence plece must Have bro straight parallel sides arc (ine up perfectly with the neck centerline when In piace. Double check and adjust with shims if necessary See te ck he Werner For best over esa rather than clamping the mleck to the bench, serew the nedk Hace ted once pute Radar te Blo: caper 11 (ieft} Screws used to mount the bench {ar use a caret makers bench). (Oe HIME CE HOMIE ag 3 Yi ik uke Sevotal passes to achieve the rl 12 arf oy re Goan an wish oe russe charel src hel Gr nicl te wan arin erted atte et only nethe onseee fs eine Rt cee Tal Sve paseee SCLIN GE Gh VETS tarde othe charel ROU 618 1 13 foelow right) Routng tne truss rod channel. end view ‘Cut the excess wood trom the sides and end of the: neck hee Fig 14), Leave Yn working margin on the sides. Cat the back af the neck heel and biock sand to % in thik, parallel to the top of the neck (Fig 15). Rough-sand the end Gf the neck (but not the sides) 50 that the heel begins ee conform to the neck pockst i the fody, Final iting wi come tater (Fg 16) Testtt the tuss rod In ts chanel. We widened the channel slightly around the adjustment wheel {or proper clearance ig 17) 14 (bottom let) Trmming exces: Woo around ee 15 (bottom midaie) Rararning bach ofhed 16 (ugh top) Shaping and of hoet 1P (igh bostom) Tras ord in place= i Let tock ~ DiaW 9 ine wtiere the nut wil be tistalled (see Appenaix _Heudslock Design, p 63). Segment itor six stings atthe mut Wilh Draw ives representing the ouiside strings as they Ps through the nut and ont the theadstock. These wit Help detenine the best placement of the tuners. When Pong es, jake Inlo account the chametey of the tuner pss drawn at right, Tuner holes should be-centered fo one . Sie ol each sting tne, halt the width of the tuner posts (ce having at igh, hsinonaside headsiocks. tuners are usually placed "Yc ie i apart depeding on the winer style you use. The ufenent ftom the center ofthe fst tuner post wo the sie the nut is usually around 1% tn fig 18), Bole for tito Gorter pois of ter hoes ae eel rom sing tne Oy the | ras of tuner sting post esualy Yn “Maik the act placement of ail six tuners and drill thelr ‘aleson a dr poss, ‘Nits Any msallgnment ofthese holes wil show. If youre -cmnferable fechanding them, use the following “ovedre, Draw a line paral to the centerline of the ei posts list outside the actual outine of the headstock. 1BLacating timers 19 Guiting sag de for tare vlact.as & guide for diiling the tuner holes on the ating Eg ESS. Cut along this tine Fig 19), then male any djusiments with a fle or sanding block 10 sre parallel to te tune line Fig 20) Sagar draw anes from each tuner centerpoiet to feed perpendicular to the tuner fine (ig 21), Clamp peaisiock tothe dll press table with the dil it jd ver the fst hole. Clamp a straight plece of io he able o act as a guide fence for dsiling atk on the fence at the point where the 'to remove ‘4 in thickness of wood ace of the headstock by marking S80 te Headstock ig 23, Mark ck of the headstock leaving room for The final thickness of the peghead Use the bahd saw to remove excess: 22 iting tuner inact making H easier to cut the outlined shape 53 ee ie pea (Fg 24) the outside shop of the headstock, reniaving is Wood Fig 25, p 38). Once the outline has 23 fobove) Marking eadstoc thicess 24 fle) Cuts for heoestock thickness 37been cul, the top and babe parts can be cut off wah a handsaw (Fig 26, 27) File and sand to refine surfaces and curves (Fi 28 29), Do not said the area Just behind the nut on the fingerboard face of the neck, Leave 9 % in margin between the back te nut and the beginning ofthe hheadsiock fedge (Fig 30) THis area wil be fished afer the ingerboard is attache 25 Tiiniming excess 27 Excess trimmed File and sana the volute on the back of neck/headstack Juneture (Fig 31, 32), The volute adds an ornamental touch and helps strengthen an otherwise vulnerable part of the instrument 2B Shaping headstock 29 Shaping around volute with osclanng | Spindle sands headstock fingerboand interface 30 Presimming around 31 Shaped hendsiock 32 Contoured vowutefgerboard. algo cated the fretboard (Fig 1), 1s @ Fength bs, reied Crrceatically, an phued to the face of the Rosewood ebony. and maple are nara, restst wear and eas Is thet hey are hard, Rosewood and ebony Ty dat) color and Took Tess solled over te. Ebony, Bis bic color and close grain, makes a great @esy to fine, and has good tonal cuales. ned the one-piece maple neck without a ingerboarc where frets are mounted dvecty into land the truss tod is Installed ror the back of the Asa \eis traditional choice, many of the harder. more W exotic woods such as wenge, eicole, goncaio {inl rocoboto are also suitable for fingerboards. Our Satis enony and conirasis nicely with the mahogany ij Henember that Wood choice affects the sound of the nt ie Appencix: Wood and Tone, p 89), ‘Noads ere available from most wood specialty Or trough a guilar supply company. Purchase wood as fiom a yeood Store or as rilled-t0'size blanks from. upplits. Specially suppliers also sell blanks alreacly es ache ‘You wil need a square, fet saw, sharp penei, and a small block of woad as @ sawing guide, Specially saws are available that exactly match the fret tang, the part of the iret which tits lito the stot (Fig 2), The most common fret shot width is 024 In Fret tangs can vary, however Repair shops sometimes use Irinner or wider fret tangs to fix a warp in a neck. Extra Sa) pressure In the fret slot forces the neck to fex back. a ‘echnigue sometimes ned to straighien oer guitar necks that dont have truss rods. Converseyy, narrower fret tangs ‘may’ allow a hack-bowed neck to straighten under string sension, Gulia tet cules and other template devices are available for plotting common scale lengths If you choose to use a nonstandard scale ergth, You can derive {ret placements smathyematically sing the sthe of eighteen, BWide the scale length by 17817 to find the distance from the nut to the 13t fret. Subtract this distance from the whole, then divide the remaining distance by 17.817 again for the next tret and for each remaining fret placement. The 12th ret (che octave above the open string) should le halfway between nut and bridge. And the Sth fet. lles haliway between the nut and ‘wefth fret Computer software ts also avollable that val figure any scale length 2 Feetsina tootFret distance from nt — 143i 27821 40572 5.2606 5 6.3966 6 74688 54808. F 9.4360 9 10.3376 0 111886. ernie i 4esi8 12.7500 13.4656. rata 14.786 15.3803, 15.0483 16.4844 16,9904 12a6a0 17.9188 18,3443 18.7450 19.1250 19,4828 % 19-8205 27 20,1393 28 20.8402 ‘4 Sawing fret io’ with fence 29 20.7242 30 20.9922 31 21,2452 Wr a1.daa0 33 21.7094 34 21.9221 22.1230 fora 25% in scale ent ay dots Gina pestions on, {fingerboard Fret placements 40. ‘Moke sure figerboari wou ts square and riled to specification: Yin thick, 2% in wide. and 20 in long. Succes in placing tet slots ts determined by good preperation. One tedge of the fingerboard needs to be pertedly straight since fret slots wil be marked wth a square placed against it Out fautat uses.a fingerbourd that extends slightly beyond! the Heel end of the neck, alloweng placement of one etre fet to provide & high D in standard tuning. MIF ant prepare the fingerboard for tet slotting, Mark the position of the nut. The nut slot is in whe. Cut ‘long the lines that deine tive nut width {0 & depth of %e In Carefully remove the remaining wood with a small chisel ot file. Mark the placement of each fret using an accurate squane (Fig 2). The fretting meacurements provided are based er {he Fender 25 in scale feng, Practice making tet set sc1ap wood, of the same type as the fingerboard, unt you fee confident enough to kert the actual fingerboard ‘Clamp a gulce tock carefully at the fret postion, Hold the saw flat against the guide block and saw to depth (Fg 4 “The depth of each slot should be slightly deeper (approximately 025 in) than the fret tang, Orewa pene the ‘on the saw atthe desired depth asa general retorence you wish Note if you can cut tet slots using 6 table saw otra arm saw, specialty icula fretting blades designe to fk these machines are avaliable rom suppliers oF gata tok Fret sloting templates are. also sold for use hn this op ‘After sawing all the fret stots, plot the placement ofthe inlay material Dots oF mother-atpeatt or analone shell are ine usual standard and can be bought ready-made from pulat ‘supply shops in a variety of sizes, ax chown, They are clasie and by far the easiest to inlay for the novice since al hats peeded Is a matching dill bit Custom shapes can also be pirchased oF you can cut your own shapes wih a Jewelbrs sal. Consult specially books about advanced iriay procedures, ur guitar hax niediumsize motherokpearl dots, one dat each at the 3rd, Sth, 7th, 9th, USth; 17m, 19th, ay 243 i and tivo dots at the 12th and at the optional 240h Tt fit Be sure to find a drill bit that precisey accommouaies thel-ze. Exparinent frst on a scrap of fingerboard wood, ‘Don press the dot ali he way In or i may be difficult to ‘each ‘Diawa centering on the fingerboard and mark the dot ‘aeeivevits exacity bentesn the apprapelate frets. Double 10's are offset from the centeriine, often halfway between, ‘peTenIEine and eye OF the AmagEbverd Athe dept of alteyg an the cl press to accortenedate sblhickness oF tre dots. Pracees wh citing. being fae Dine up the dots perteetly We hove made a dries Aligning Inia centetag l. stina on “Jie asshow, to help to accurately guide the ding process Sup woDd fig7. 8.9) 8 w@pe tah) Smal section or ruler for : TUdt the dos in pace wlth white Or yotow ghue: epmy, on _eetng beter fet slots ‘09th gapflrws cyanoacrylate (super) glues Fg 10) af 9A spacer wniie stele ate any gaps or chips aroured the inlay. mix the glue SUCK sed to dit some tngerboard sametust fo match the color jocaoubie dass at 4 lath fret 10 ef Inlays ghuoad inploce i ly np the fingerboard to the neck and make sie ass rod sides in anid eh of WS chanel wsthout lng, This insuros its easy removal and seplacement in yeahs although tis |s untaty with dre truss ro we howen nia proper postioning while gluing the fingerboard Re neo use small gude pins fashoned from Sonenes 7 ered ofneck sumed before Or Aerio pis or tacks. Nall two ping securely Into fingerboard teattathed ck fe near each end, as shown (F812). HPO He protruding end to avout Yin, oF just enough to | tingesboarc In ptace during the gluing process. ‘even pressuré over the entire fingerboard, use ifemps and a clarmpnig block faced with cork to presins onifonmly ever envi iy area(s 12) @h uss oc to ensure t doesn't got permanently ghied give the Mmgerboard to the neck. Oreck that glue 12 Fretboard positioning tacks TR Ciuing fingerboard, foe ni th tiss you channel and create an prado block Keeps neck by taking wate thai the channel is cleared belore Siroight and pressure even, at14 Trimming edlges of fsgervored 15 Block-sanding rough neck shape 16 Shaped jingerboara-headstock inexfuce 18 Sandbag arch into flogerboard 17 Checking fingerboard rastus infer tergt sarang tock 20 Fitting neck to body 21 Aligning neck to ridge Trim excess wood from the sides of the fingerboard iFig 14) and begin shaping and refining the neck fingertyaard combination to Its inal configuration. Keep back of neck fat by using sanding blocks (Fig. 15; ‘Do nat sand too much in the mice Rounding the ends of the sanding blocks wil help keep the neck fot all the way to the ends. Cardboard or paper templates of the prefered Heck cass sections wil help monitor your progress. Segin final sanding around the headstock (Fi 16) ‘The fingerbaarel now needs arching. Quis has an are with 3 12 n fadiis: Make a radius gauge with a compass, OF purchase one, available in various radi rom guitar supply dealers (Fig 17) (See Fingerboard arch p 17) pce acesie-nack sandpaper on a fat look an bes sareding fig 1) fo arch the Nngerbourd, as shown, Check progres wih a rads gauge: Use along sal ide ag The erty of the thgerboatd to Keep & perfect at Stat wer 80 gt sandpaper ard as you reach he fal shape se progressively (ies Grater ol earcoasl Akertetvey sel simple ig wht a fads Sanding block that has ba BT | rrccined tothe pres feds, avalebe om pl 18 Radused ending beck win. aabe volenee fom ginerone mounted parallel to the Centerne of the thygrbootd keeps tle sanding Bock rm wandering and accent rourdng the ose edgs oft thygerboata oo much, as shown 9) Cive final shape to the back of the neck: Use a contour template to help get the rent curvature, but a good eye and feel are the best gauges iy other gullars to geta sense of the range of neck shapes (sae Neck Shape, p 17). Careful the neck tothe body, Use sanding block for neck sides and points where f Contacts the neck pocket (Fig 21) Use a tong straightedge 9) check the allgnmient between neck and body, Place the straightedge along the trajectory of an outside string, jst from the side of the fingetboard. Line this up wit the outside bridge saddle (Fig 21), Repeat this process with the father outsice string. Sand the neck at the heel area until the ‘hWo outside strings are equidistant from the edges af the fingerboard!“St fingerboard to 400 grt sendpaper (aking care to not “wet he ach or round the edges ofthe Aigerboara, Posh ith fine stee! wool before te frets are Installed, ita ypes. Varies In width and height. Electric gullars basses use a vaviety of sizes depending ost players fens Many modem guitarists prefer 4 larger jumbo Foy easies string bending and a tuller tore, Our ices 2 medium fretire tradivionally used in Fender aid sig fine langue Me, carenuly dul the sharp. eciges of re Sc uh afew tight strokes acioss the Angerboard his eases fot entry, allows fret to seal propeity, and heips Shipping ner wor) ets are remaved for cement. Fretwire fs covered with a residue of machine ‘vag he eoataciuring process. The se mast Ye wiped clear, Use naphitia in a we area fs onger than the sength of the lot ngovoond, as shown fig 22), Pee-curve tet to the rads ofthe fingerboard by bending them bby hand or use a special device, before they are Hilo shorter pleces, Take care not 40 twist the: le Carefully seat the ends of each fret in the sot gets by harnmering into the siots with a aiiiber ot hanes blows. Use a smal ‘or Plastic faced deac-blow hammer. Practice HiAstTap Of word! before atlempting to install frets on etal gerboara “An alerative to hammering frets i-a system of ftels into thelr slots Commercial varieties of a pes che attachments for cil presses, stand machines, and vise-grip syster. All oF nese ul Over Khe process home-made fret press is shown at right Carve hun small ooppoil ends of an 8 in Jong oe, as sho Hi ston one plece over the set to press Ii, enter the rove! the rgerboard Keeping the dees parti! ta the This keop the fret torn fang over and sows aretha erat oF the fet as boing 23 Fre press. This ones made wit mitted piienolc Blocks. Coser se presses re, far side ‘eth fel vides on fingerboord 24 left Pressing frets 25 jabove) Underside ofreck must be Supported directly below the fret. Here thir mople wedges cre use, for sy ‘helghtadustrnent. Jorgensen carn alves best contro pressed into place, as shown (ig 24) Use a Jorgensen clamp centered over the fret to exert more Cantrol over the distiibutlon of pressure, Support the neck directly henesth the clariping port (Fig 25), Match fret slots to iret tang size 80 they wall press in easly Be careful that the fret doesr't lear to one side as its beng. pressed in, Do not Over press. Clamps can exert a powerful Amount of pressure and accidently indent the frec into the fingerboard 4326 Bevelng jetends aan pi 27 Leveling frets 26 (ight) Checking frets whh sraigitecge 29 dbelow ff} Leveled fel. taped off forrecewning egre ofr Dptins oun rete 4 30 ihetowr right) Recrowning fret wee ie Fret leveling an fing 1s crucial to the playapifty of your Instrument. Clip frets as flush to the sides of the tingerboard as possiole, being very carettil otto chip the tagerboers Use special chppers with a fat face io clip Installed frets Cp frets from sides to avoid crushing the fel tang. Soueeze the Clipper handles eventy taking care not to pull the fret to one SIC@ oF the ober Carefully file fret ends with a large mil ie to being them ‘hush jo the ses of the fingerhoard, shown in diagram De not loosen frets, Bevel fret ends with a mil le, (Fig. 26) ‘Choose cegree of angle shown if) drawing below. Less ange leaves more piaying area on the fret top; increased angle i more comfortable when siding the playing hart to and «dowry the neck, Be aware where the outside strings Ine up 50 the strings aren't inadverierily pulled off the ends ofthe frets while playing. ‘Adkust the truss vod if necessary ti the tops ofthe frets are level Level he tops of the fots. Use a iret insetboad ‘eveley made from a fine sord paper: covered fat length of wood of metal (Vou may also use-a tong, perfectly ft smi she oF » spect fet fej Cover should be longer than the fretboard io level al the frets simultaneous. Holding fy as shown in Fg 27 prevents bending the neck while sanding as may happen when itis held on a bench. Check offen wih a straightedge as you fle so as nol fatten them too much (ig 28), Place drafting tape (making tape leave a residue) on each side of every tet (rarrower a {ae is helpful for upper iret), Frets must be rerounded ivhiete they have beer flled at {Fig 29). Use a specially Crowning file available tiom gultar suppy cenlers 3) shat matches curvature Of chosen frets. Damond git les ‘though expensive, are best, Fle ust until the tat area lef the leveling file disappears. Over-ling wil lowe the fet etation f0 the oles. ‘The ends of each ite ate furtner dressed whi a sanding sich Gee draving. at lef) or a speciaty tangle fe with thee ‘gfound fal: Remove alsharp edges. Side your hand along the kes of the neck fo ind any shay ends. Take case nok to damage the fingerboard, Burnish frets with a tight sanding with 600 grit salidpaper ancl a final bulling wilt fine steed woot Smal inlay motherorpean dots along the side of the fingerboard act as references to bolp tne player find finger afd chord positions, Thetr placements are’ Identical to the Inlays on the face of the fingerboarc. Find ie exact center vertically and hosizontally between the Specfed frets, Make a slg Incemtanion with the avi to Hiip postion te drill bit and keep it from wandering, Reinerciber that the double ot at the 12th fiet fs also. hubied on the side, ‘ll the oles with the appropriate-size dril bi. A brad point Gill bt wil center more easily on the nick made by the avt {F531}, Ghue dos in lace using a cyanoacrylate ar white ‘ple. Let dry and sand smooth wilh fine sandpaper (Fg 221, any major adjustrnent is necessary. 1Lis best to find out at ‘ne aeserably shag an corres i rather shan iater wren “gdsiments may compound dlftcuties, Begin to NH the ‘omponenis togetner Pace the neck into the neck pocket and recheck is tignment ‘0 he boxy centerline, Holding neck firmly, pustt 27% In cl bit rough the Heck screw Noles inthe body A tis! by hand to make shallow pilot oles into the neck. Bemove the neck from the Douy ana with a dil prass usinas ‘ain bit (ig. 1), deepen eaet pilot hole 10 % sy (he sept abstic he neck and fingerboard join). Use tne depth plug on the dil press to keep trorn dling too fat Putthe ferrules for the neck screws into the body anc! PRE Lhe sews imho them. Some sores wi Need Shortening since the back of the rieck pocket was canted, “Meesure every screw Carefully api cus sem 10 a tensth (6 short oF the neck/tingeroard joint (Fig 2, 3), The “shows should stop short of the tull dept Of plot holes bo Noid cracking the fingeboara, 27 Driting jorsige ‘es 32Siae ‘lays in proce 1 ile) Deiting hotes for ec mounting scien 2 (lower let) Neck serews in Place unrmmeed 3 (lower righ) Trimmed neck