Tag Archives: luthier

Fender Roadworn Tele

A friend recently brought me two of his Teles, one was a stock Fender Roadworn and the other was a parts tele…Warmoth neck on an American Tele body. Neither of them was “useful” to him anymore so we discussed what to do. We decided to mod the Roadworn body, adding an offset vibrato, a B-5 conversion plate with a Mastery Bridge (by far the best offset bridge available…if you have a Jazzmaster or Jaguar, etc, and you don’t have a Mastery on it, GET ONE!), and use the Warmoth neck which was a beautiful flame maple neck w/ rosewood board. The neck however had been finished years before by another builder and was not up to par…thick finish with a badly applied decal…so we decided we’d refin the front of the headstock, black it out, and add my company logo in metallic green. I also modded the electronics just a bit, replacing the stock capacitor with an Emerson PIO cap (available from Stew Mac and a very good cap. I prefer NOS Cornell-Dubilier, Sprague Vitatmin-Q’s, or Russian military caps on my custom builds, but the Emerson works fantastic as an upgrade to stock electronics). In the end we arrived at a whole new guitar, here’s the end result…

IMG_2753

IMG_2755

IMG_2756

Advertisements

Model PT

PT

Curly maple back and sides, Sitka spruce top, ebony binding w/flamed sycamore lines, and maple burl end graft.

PT1

Scoop cutaway.

PT3a

 

This model is my answer to the current resurgence of the Parlor guitar. It has a small, asymmetrical body (though it doesn’t look like it at first glance), a 24.9″ scale and a 13th fret joint so that there are a full 12 frets above the body joint. It is a small guitar, but it has huge sound. The next one will be under construction shortly.

Cheers

Making a Carved Top Electric Guitar…Without Any Carving (Part 3)

In Part 2 the carve began to take it’s final form. The recurve was added with the aid of a curved scraper, so we are ready to go back to the random orbit sander. I will burn thru a few more discs of 80 grit, often times using the front edge of the sander to hog off a lot of material where needed. I try to blend from a generally flat surface under the bridge/tailpiece to a smooth sweeping curve down to the recurve and back up to the edge (binding). Here’s what it looks like after nearly all the “carving” is done…

P1010004

The next step is to finish off the neck end. I will fit the neck blank in, without the fingerboard, and check the centerline and the pitch. When this is all correct I simply trace along the fingerboard surface inside the neck pocket and sand down to that line…

P1010018

Now when the neck is attached the fingerboard will follow the carve right up to the correct pitch. The last step for me, besides the eventual rear control cavity routs, drilling, and finish sanding is to make sure the recurve and transition areas are all smooth. I do this with a round rubber sanding block and 80 grit, knocking off any peaks and valleys, especially in the recurve area. You can see here how I try to shape things, like the recurve, based on the tools I have available or the tools I prefer to use. It is no accident that my favorite sanding block and the recurve on the guitar are nearly identical.

P1010031

This entire body was taken from a shaped blank to it’s final form in one morning before lunch. Of course there is a lot of other work to do, but this method allows you to quickly produce a pretty killer carved top body. Here is the finished product…

djb4

djb1

djb3

I hope this has been informative. Cheers!

Making a carved top electric guitar with natural binding…without any carving. (Part 1)

For anyone with some wood working skills and the correct numbers, building a flat top electric guitar is really pretty simple. But a carved top seems like more of a daunting task. Well, it isn’t. With the right tools and a little finesse (and confidence) it can be accomplished quite easily. No CNC, no gouges, no planes. All you really need is a router and router table, a panel cove router bit, a router speed control, a random orbit sander and discs, and a cheap curved scraper. This is a bit of “guerrilla luthiery” for ya’ll…

Start by designing your instrument. Make a full size drawing, measuring carefully along the way. This method will not work well on a guitar shaped like Norway, so rein in the craziness. Just about any “guitar” shaped guitar can be made with this method so if it’s your first time, think Les Paul or PRS, not F5 mandolin! Once you’ve arrived at a shape, cut it out and glue it to a piece of 1/2″ MDF. Then cut and sand to the lines, and there’s your body template. That can then be double stick taped to a body blank and you can cut and sand to the edge of the template. Remember you generally want the edge of the guitar to be in the neighborhood of 1 3/4″ AFTER carving, though it’s possible to make the guitar thinner at the edge, so make sure you plan, draw, and double check your design…numbers are important in this business. Once your body is shaped, you’ll end up with something like this…

P1000939

¬†Once the sides are nice and smooth, you are ready to set up your router table. Everything I used for this project I purchased at Rockler, and all in all, it was not that expensive. First, the router bit…a panel cove bit…
P1000942
As you can see, this bit is big. Too big for the table insert. So it’s chucked into the Porter Cable 690 router OVER the insert. Then you can make a simple table surface from a piece of 3/4″ MDF. Just cut out a hole that is larger than the bit diameter and attach some small blocks to the bottom that will fit into the track on the table.
P1000950
This surface will allow you to adjust the bit height correctly without it grinding on your table insert. Secure it with a clamp or two to keep it from moving into the bit while you’re cutting. Then you can adjust your bit height. This guitar has a 5/8″ quilted maple top. I want to leave 1/4″ of natural binding around the edge, so I simply take a piece of scrap, flatten one edge, and cut out a crude depth gauge for 3/8″.
P1000953
So, now you’ve got your router table set up. BUT, if you turn on the router right now it will sound and feel like the whole thing is going to take off like a helicopter and fly around the room. This might be unlikely, but anything that detracts from your sense of security while building is dangerous. Confidence is important. So I always use a router speed control.
P1000944
With this I can dial up the speed to a level I’m comfortable with. The extra advantage to this is that the speed can be set to a point where you are forced to take small, short, sweeping cuts into the body. If you try to just hog it all out in one pass, the decreased power to the router causes the bit to slow and you will hear it and know to back off. If the sound of the router stays constant, you’ll know you’re cutting the right amount. So, turn on your router at a slow speed and dial it up until it is nearly to take off speed. Then, using some scrap wood, make some test cuts. ALWAYS cut into/against the spin of the router!! NEVER let the bit climb or it will throw your yet unborn guitar thru the wall, or worse!! Now, you’re ready to cut.¬†
P1000954
Lay the body face down, turn on your router, and begin making small sweeping cuts INTO/AGAINST THE SPIN OF THE BIT. Hold the body tight against the table, keeping your hands away from the bit. I generally stop at the tip of the cutaway(s) and just short of the neck pocket on a single cut guitar. These areas I will just do by hand later. So, make small sweeping cuts until you’re able to run the guitar all the way around with the bearing touching the body edge.
P1000955
When you’re done, it will look like this…
P1000966
As you can see, you have a nice even bit of natural binding and a very uniform slope up to the top surface…and the hardest part is done. Look for the rest of the “carving” process in Part 2. Cheers!

The Project

I work with, and sometimes at, a guitar shop in Scottsdale called Guitar Gallery, I have since I was 15 years old. Occasionally we get people bringing in some beautiful classic guitars. One day a lady came in with 8 instruments. There was a ’57 Gibson Switchmaster, a ’78 LP Jr, a ’52 reissue tele…great guitars. The last one she showed us was in her words, “some ugly piece of junk”. At first glance, she was right. Strat style body with a terrible spray paint refin. But, I immediately noticed the neck, a well aged Lake Placid blue Jazzmaster neck with the transition headstock, so mid ’60’s. Having worked in this business for 20+ years I knew there was something to this guitar, ugly as it may have been. So I told her I would investigate what was up. She was prepared to give it to me, but I couldn’t in good conscience take it, not with the feeling and vibe it was giving off. So I began…

Image

The neck was indeed a ’65 Jazzmaster neck with schaller tuners on it, an ill advised mod on an old Fender because to function correctly more string trees are needed, and this had them…so the neck’s value was pretty much shot. The Fender neck plate dated to 1972 and I began to piece together a theory. Perhaps sometime around 1972 a Strat had suffered an unfortunate accident? Perhaps, since at that time a ’65 Jazzmaster wasn’t valuable, the neck had been replaced…hmmm. Well, the body WAS something special. My first clue was the tremolo, a wonderfully aged, but relatively clean Strat trem with “Pat. Pend.” stamped saddles, SCORE! With the pickguard removed I was able to completely date everything, body, pots, switch, cap, and the pickups to 1960. This was a gem, not a terribly valuable vintage guitar (besides the pickguard, of course), but a dream for a player. So I thought “I’m a player, and even after 30+ builds, I’ve never built a guitar for myself”. I called the lady and proposed that I buy the body and neck, and broker the sale of the very valuable 1960 pickguard assembly, which she agreed to quite ecstatically, having believed that this was a junk guitar. It was now my future guitar.

I immediately got to work stripping the finish.

Image

I quickly found the signs of the original guitar’s, and it’s neck’s, unfortunate demise.

Image

Since this part of the guitar isn’t actually very structurally important, this was an easy fix with a flood of superglue and some wood putty. Upon further inspection, I also discover it’s original color behind the tremolo claw, Fiesta Red.

Image

She must have been a beauty.

As I prepared to lacquer the body, I decided to not use the Jazzy neck on my finished instrument. The tight 7.25″ radius just didn’t fit my playing style. I wanted a compound radius, 7.25″ to 10″. So, I made a new neck, one piece birdseye maple.

Image

I chose to lacquer the guitar in black and with that neck, and for a Pink Floyd fan, there was only one option for the rest of the hardware and pickguard, right? So I made a pickguard of 1/8″ black acrylic, rounded the edges, collected the parchment parts together along with some Tone-Pros vintage style Kluson tuners, and with the lacquer cured, set to putting together my new instrument.

Image

I loaded up the pickguard with Curtis Novak’s vintage Strat pickups, Mojo CTS pots, a vintage NOS Russian military capacitor, and traditional cloth wiring.

Image

Then I assembled my new instrument. Here she is…

Image

She’s light weight, plays like a dream, and sounds fantastic. I am a happy man, a happy man who plays a vintage 1960 Strat…almost!