Andyjr1515

Well, the tweaked cut outs and top are almost done. There might be a bit more to tweak once the back is done to get the feel and fret access just right, but this is getting close. Those of you who have seen my other builds will know that I generally pop an early coat of tru-oil on - regardless of what I will eventually finish it with - to help show up the lumps and bumps:

Next jobs are finalising the main carves Basically: tweaking the outline a tad finish off the top doing the back carving the neck The outline tweak is to compensate for the fact that, in changing from the maple to the macassar, I added two more frets to 24th. As such, I will deepen the cutouts a touch: Lots of chippings and sawdust coming up!

Now the fretboard is fixed, I can get on and finish the body carve

I will be putting the same demarcation feature under the headstock plate so I cut some offcuts of the maple and ebony veneers: Then glued and firmly clamped under a decently thick block of sapele: Then the final few jobs on the fretboard before fitting. Added the side dots and filled the fret slots with epoxy mixed with macassar dust: The headstock plate was clamped while being glued on using acoustic guitar bobbin clamps, but the fretboard needed something a little more substantial!

The veneers are dry and trimmed. Quite pleased with the result:

I'll do the rest of the body carve once the fretboard is on. The two jobs to do before I can do that is to fit the truss rod and to add the demarcation lines to the mating edge of the fretboard. Although for the maple board I was going for a bound fretboard using a binding already incorporating the feature lines: ...for the macassar, I've decided to go unbound. Hence, I need to create the demarcation lines with veneer. I've glued a maple veneer to the bottom of the macassar and then a black veneer to the bottom of that. To make sure it's flat, I've clamped the fretboard tightly over the veneers using radius blocks as cauls and the whole caboodle sitting on a very flat and sturdy plank:

OK - this is one of those times when I say 'why haven't I ALWAYS done it this way round????' I have to say, I found inserting the frets, trimming the fret ends, filing the fret ends and the bevels SO much easier done before gluing the fretboard onto the neck. I had a prejudice against doing it that way round, but I think I've just done a flip! I worked on this off and on over the day. Still not glued onto the neck but looking pretty good, even close up, in terms of straightness of sides and seating of the frets:

Each of the last few builds I've done the fretwork in different ways. This one is no exception. Having had some challenges in aspects of all of the other methods I've used, I thought I'd have a go at fretting before fitting the board to the neck. Also, for this one, I've decided to skip the bound board. My method of actually installing the frets is the same, though. I run a tiny bead of titebond along the tang, then hammer, then immediately clamp using the radius block as the shaped caul: One new thing for me is that I've bought a pair of fret tang nippers - very pleased with those so far...

That really is beautiful work, @Bastav . Lovely.

For the maple fretboard I was going to use some NZ Paua to get the contrast, but for the macassar I think MoP would work better. I cut out a couple of swifts for the 12th and routed the shapes with the dremel precision base: Then glued them in with epoxy mixed with fretboard sanding dust and added the MoP dots for the other positions: Then a quick sand with the radius block:

And here it is, trimmed and ready for putting in the inlays: As I was redoing the fretboard, I've added the extra couple of fret slots to 24. The body shape has been designed, on the other hand, for full access and thumb anchor point for bends up to the 22nd. When it's all glued up and I can air-guitar it, I'll decide whether to provide the extra cutout area to the 24th or whether that would spoil the look. I don't think Jane will be doing three-semitone bends on the 23rd and 24th so - for this one - it doesn't matter too much

I generally slot before I trim to final width - I've had the edges ping off in the past which is not great if it's already at final size! I've sorted the slotting routine with the G&W mitre box - it works quite well and quickly once you've got your head around what to clamp where to make sure nothing moves! I was pleased to see that there is now a set-up and user guide pdf on the G&W web site - although modesty would forbid me saying who wrote most of it And 1/2hr or so later it's all ready to trim to width: Looking at the weather, there'll be plenty of time to make a bit more progress tomorrow

Ref the spraying, I just don't have the facilities. It's only recently I've been able to sort something more practical than a Workmate on the back patio I've got a proper workbench in the cellar now but that's about it. Also, most of my builds are trans finishes or natural so I tend to use stains rather than paints. Ref grainfilling, I generally do the slurry and wipe/ buff approach - I've not been able to find a grain filler that goes on well, accepts stain and sands down easily. It must exist but I haven't found anything yet that beats slurrying the wood itself - especially since finding out that you can do that with stained wood. I quite like seeing some evidence of the grain with most of the woods I use. This one has the lot - stained with ink, slurry and wipe/buffed with tru-oil, Ronsealed wiped on. All done on a small table in the spare bedroom. Andyjr1515 nirvana! Apologies, @Geek99 for the slight de-rail

Sometimes more like this: I might not be much help on this one: I've done white and I've done bursts ....but I've never done a white burst! And I'm not entirely sure how I would go about it. And generally I don't spray. And I generally don't grain fill in the conventional manner. Basically - my approach tends towards the unconventional in a number of aspects and so I would probably start from a completely different place. There are some pointers I've gleaned from the various trials and tribulations I've had that might help, though. But I emphasise these are just what I've experienced...other people may have had more success than I did: I think linseed oil is a bit of a problem. Tru-oil - which many guitar makers use - is a polymerised linseed based product. Basically, it sets hard over time. I'm not sure that linseed oil by itself does. As such, there may be problems trying to overcoat linseed oil with many things - although perhaps OK with Tru-oil Personally, I steer clear of nitro-cellulose. You HAVE to wear a properly spec'd respirator - it is pretty evil stuff - but more than that, it is very, very particular to what it is sprayed on or what is sprayed on it. And it blooms in damp weather...and and and Yes - the spray cans from halfords, etc, will work fine and give you a huge choice of colours and a decent clear coat. Always start with a primer, though, if you are using solid colours. If you are spraying onto bare wood, use a clear sanding sealer. You still need to wear a respirator when you are spraying and follow all of the other precautions stated on the tins but functionally will work and, in my experience are less sensitive to humiditiy, etc.. They can nevertheless be still reactive with previous coats and other products. The folks above who say 'always test on some scrap' speak wise words You can produce very good results for many effects without having to spray... The good thing, though, is that generally at worst, you can fairly easily sand back to the wood and start again. Sorry I've not been more help on this one Andy

The good thing about the change of plan is that it gave me more practice with the home-made radiusing jig If I ever get round to building a version 2 there are a few improvements I would make but, to be honest, it seems to do the job. Here it is after one pass (cutting the radius and then indexing it forward 3mm or so each time): I'm pretty sure the lines on the righthand side is that the two radius ends of the jig a slightly out with each other, causing one corner of the router bit to dig in. You see the effect more here - but decent first pass rough radius? : After 15 mins or so with the radius block it was like this: I think this was the right decision

That's no problem at all. To be honest, if I had been making it for myself, I'd have gone for the maple. It matters not - I've got a good feeling about this build so I think it's going to please both me and Jane whatever

Certainly was the case with my yew 6 string above - but this one maybe a touch too much contrast? Anyway, at the end of the day, the future owner prefers the dark board. I'll use the maple fretboard next time I build one for myself

I sent Jane a copy of the above photo of the guitar and bass - and she prefers the dark fretboard of the Jag bass. So this is where I'll be heading: Thanks for the input, folks - always appreciated

Just the outline and cutaway stripes, but the darker fretboard would certainly tone with the wenge This is probably a better representation of the tone difference: ...and this is probably close to how they would compare in real life:

Yes - if I did the macassar, I would use an ebony binding with a maple feature stripe. This is sort of what I had in mind when I chose the maple: But the amboyna is going to be darker than the yew and hence me wondering if the contrast is a tad too much

OK - I used to be indecisive but now I'm not so sure Ignore the fact the the body carve isn't finished yet, but I'm thinking ahead. Bear in mind that the fretboard will tint down a touch, but this is presently the sort of look: Thing is, is the contrast good or bad Would it be better with a macassar ebony fretboard this kind of colour, or is that going too conventional?: What do you reckon?

I made a quick profile template for the back carve from the cover of an old A4 writing pad: Then got to work with my pull-shave. I agonised before I bought this a few years ago - I'd never seen anyone else use one - but am SO glad I did! It's proved useful for many tasks, but for this it's perfect: It really didn't take all that long to get to this stage: Then to the top carve. I will do this over a couple of days. I like to leave it part complete and come back to it afresh - otherwise you end up not being able to see the wood for the trees to use an appropriate phrase This is enough for the first stage of the top carve: Total weight at the moment is 3lbs 13oz with quite a bit of neck wood still to remove.

It's wenge again

With the top glued on, time to rout the excess oak. After too many scary moments with the router, I decided to do it very, very gradually. Ignore the bearing on this shot - it was the only 1/4" shank bit I had to covered the whole of the back panel depth in one go, so the bearing was running in fresh air. The key thing is that I used a series of guide rings, so that each cut was 1mm max: This meant no kicks or catches at all, even round the two horns! Hooray!!!!! After the last ring (16mm), it left an excess of 1mm that I then used a conventional top bearing bit to remove, over two runs to achieve the depth: And there we have it - basically trimmed: Oak might be a bit of a pig to work with, but there's going to be some interesting grain patterns on the finished guitar:

While I don't really trust my carving skills entirely, I DEFINITELY don't trust my router skills. I think the veneer scenario is perhaps a little to close to reality I'll start with the back, using a pull shave, micro-planes and curved scrapers and then go at the top with just micro-planes and scrapers...it's safer