OK... so I promised... here ya are. . . .

Ok.. so.. I promised….. a Strat build….. I’ll try to drag out the Day it would normally take me to get the first filler coats on it, so a few more can absorb the project…

First, my apologies to someone that did a Spruce Strat a few months ago, and to the Spruce Caster of recent history to, This isn’t a shot at up-staging y’all, it’s just that this happens to be the next Strat I received an order for.

Sitka Spruce is the lumber used for the sound board, (top) on Martin’s finest, as well as Gibson and about anyone else making high quality Acoustic Guitars, It is also used exclusively by Steinway & Sons for the sound boards in their finest Pianos, yep even the Concert Grand “D”. Everyone else making a serious piano uses it too. Further it is found in quality Violins, Harps, and just about any musical instrument where resonant acoustic qualities are paramount to the overall quality of the voice of the instrument. I can’t wait to hear this baby.

First we cut the lumber to the appropriate length, and check the growth rings…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0001a.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0002a-1.jpg

Note that I have marked the angle of the rings where the two pieces will be joined. I want to joint the lumber at the same angle. This dramatically reduces the appearance of the joint as seen in the end grain.

I adjust the guide on the jointer to approximately the same angle as the growth rings in the Spruce, then joint both pieces…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0003a.jpg

I’m going to interject the Finished blank so you can seem or not see as the case may be, the joint….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0014-5.jpg

and on . . .

Ron Kirn

Cool! Finally a strat build......thank you Mr. Kirn!

Strat Build 2

Now, let’s back up a few hours, to the glue-up…..

A good coat of glue and good clamping technique is the simple way to a quality blank, and/or joint….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0007a.jpg

Since the edges are jointed at an angle, I cannot simply clamp them as per normal because the wet glue acts as a great lubricant and the pieces will slip apart, so additional support is required to keep everything planar until the glue dries… here’s a few shots, that says it all…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0006a.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0005a.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0008a.jpg

Regarding glue.... recently one of the wood working magazines did a test of the various glues available to wood workers today.... the winner, hands down, was good 'ol yellow wood worker's glue, beating Gorilla Glue (polyurethane), Epoxy, CA, Formaldehyde resin, you name it, on all counts, the yeller stuff won. With the one exception of very resinous lumber like Cocobolo, for those the Poly based glues were best.

now. . . to let ‘em dry.

Ron Kirn

Nice Ron .
Good of you to take the time . I love this type of thread .

Why is it guys tend to glue 2 or 3 pieces , as opposed to using 1 piece ?
I can answer my own question with some optional answers , but I thought it might be good to get the hatchet buried on the matter by a pro .

Thanks for keeping your promise, run the lumber through and then flip one piece to get a flat blank and invisible joint, nice. I imagine that spruce doesn't come cheap in the dimensions needed for a strat.

Hi Ron,

Great to see a Strat build from you , I am looking forward to it.

Yep. . . Spruce is more costly than most choice lumbers you may choose. Finding a one piece of Sitka 13 inches wide is a problem, since Sitka used in musical instruments is only acceptable if it’s ¼ sawn. Itt would require a tree at least 3 feet in diameter and the outer rings would be considerably different from the inner rings, giving a inconsistant appearence, some don't mind, some do.. Also finding real Sitka can be problematic, since several other “Pines” are routinely substituted for aeronautical applications. Those suppliers have no concept of the importance of using the real deal in a musical instrument. To them a Spar or Rib, is a spar or a rib.

The tighter the rings, the better. . generally speaking.... if the rings are far apart, the softer wood in the light areas can dint quite easily due to the great variation in density between the light and dark rings, the dark rings are as hard as Maple, whereas the lighter areas can be as soft as Balsa. But the bottom line. . . one piece, 2 piece, don't mean diddly...

While I didn’t count the rings in the 8 inch wide section, I’m guessing they represent about a hundred and fifty years of growth. I have some 1400 year old Black Ash, with rings the same density, so I’m making an educated guess.

I’m gonna be tied up till Thursday, strange, some guys pay money and actually expect their guitar. So I reckin’ I’ll get ‘em done, before moving on to the next phase on Paul’s (gonna be a new member) Spruce Goose (but it won’t fly)

Ron Kirn

:grin:

Nice! A Ronkirn strat build!

My Dad had a big batch of spruce since I was little; he's been resawing it when he has the time, for freeflight model airplanes builds.

I think he has resawn almost all of it; he likes guitars but likes airplanes better, and would not want to see his precious wood end up in a guitar body.

It has a tremendously advantageous strength to weight ratio.

Go my Brother!!!!!!!!!! When you get that one done i want a tele! LOL


Goodluck

i want a tele! LOL

mite just happen.


Ron Kirn

So I gotta few minutes between assembling one and all the other stuff that needed dooin…

So I have this nice 2 inch thick piece of spruce, with a Strat body lurking somewhere inside. I guess I better get to removing what doesn’t look like a Strat…

This is pretty elementary My Dear Watso*…. Oh, wait, that was something else…..

While still basic, I shot this step too…. Take your trusty template and draw the outline..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0007-7.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0008-10.jpg

Then I waddled over to the band saw and band sawed it….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0009-6.jpg

and this is what happens…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0010-9.jpg


Ron Kirn

mite just happen.


Ron Kirn

Lets make it happen , Luv your work Man!!!! i see .....................a Tele!

Now, 3 inches is a bit much, so there are several ways to bring it down to the correct thickness. A planer wide enough to take a rough at about 13 ½ inches will do nicely, or a panel sander, my choice in this case…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0015-6.jpg

I just keep running it through until 1 ¾ is reached….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0016-7.jpg

now it’s time to get serious…..

Until next time. . .

Ron Kirn

Thanks :wink:

Thank you Mr. Kirn. I can't wait to see a recessed output jack in full color photo glory.

Hi Ron,

I am happy to be along for the ride on this project. I will be back daily to check in on it. I am pretty sure that I will have a few questions along the way.

Looks good so far!

Bob

I'll try to get a bit of shaping done today.

Ron Kirn

I always appreciate seeing these build threads. I documented my Ric-style guitars when I made them and found out what a pain in the butt it is to take photos and organize them on top of doing the wood work. Thanks for letting us in on the project!

Hi Ron...I'm all eyes:shock: on this one. I always wanted to see a strat build. They have one over at www.cnczone.com in thier musical instument design and construction forum HERE (http://www.cnczone.com/forums/showthread.php?t=17659)
I love your stuff and can't wait to see how this ends up!
Cheers
ED

Strat Build 5

Time to mount the Template, I use screws, I don’t trust double stick tape to be secure against the pressure that can be applied.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0002-9.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0019-8.jpg

adjust the Router bit, in this case in a router table, so that the bearing is making secure contact with the template and makes a clean cut.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0001-7.jpg

Routing around the periphery of the body is pretty straight forward, Just proceed slowly at the apex of the 4 large convex curves tear-out is a real possibility if you get to fast.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0003-12.jpg


RK

Now, once we have completed one pass all the way around, we direct attention to the Tremolo cutout. I do this in several passes, the first cut removes about ½ of the ¾ inch depth. I use a quickie block on the router to set the bit..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0004-11.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0005-6.jpg

This will remove approx 3/8 inch deep section of the cutout….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0008-11.jpg

I not set the router depth using a second ¾ inch thick block, this will cut the tremolo cutout to the finish depth of ¾.. Oh, this is not critical, and for those detail oriented builders… here’s a tip how to achieve a true vintage appearance, make these routs as sloppy as possible.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0009-7.jpg

rk

Now I take the final cut….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0013-10.jpg

To rout the deep section the tremolo block will reside in, I have a block I made to fit into the spring cavity.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0020-5.jpg

Now, using the previously routed edged within the body as a guide, I set the router to cut about 1 ¼ deep and buzz away.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0024-5.jpg

You can see where I had set the bit a little too low and the collet burned the body just a touch. Not to worry, I sand the body down in the panel sander just a touch, so such machining marks will be totally removed.

I now adjust the router depth to cut all but 1/8 inch that will form the lip at the top of the tremolo cutout.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0026-5.jpg

Checking this way, I am absolutely sure there will be no unfortunate surprises when I lower the router into the hole.

rk

You will also note I have not completed routing around the body yet, I want to complete all operations relative to the first template before I remove it. Now its over to the drill press to drill the neck mounting holes.

But first check the drill bit to be certain it is at 90 degrees to the table.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0014-6.jpg

then drill the neck bolt holes.. Now remove the template, we’re done with is for this body.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0017-8.jpg

Now, it’s time to finish routing the outside of the body. Adjust the router bit so that the bearing will ride along the previously routed part of the body, and completely remove the remaining “flange” of lumber.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0031-6.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0032-2.jpg

At this point the outside shape of the body is complete, Tomorrow we’ll attack the top side.

Ron Kirn

Hey I guess I got that vintage look down with my router skills, looking good.

Have you considered not doing the body contours?

I think one of the reasons so many Tele players are not as fond of Strats is because of the way they sit against the body. A Strat slants where a Tele stays upright. And the lack of an arm contour causes the hand to address the strings diffeerently. Then again, a big part of showing us this project is "how to cut those contours" so I guess it might defeat the purpose of the build.

Hey Ron .... looking good so far .

Is there anything you could do with this body that would make it truly unique ? Maybe something that could add to tone ?

Just thought i'd give your creativity and inventiveness a headache lol :razz:

No contours. .. on a Strat. . . Sacrilege .... As for doing anything to add to the tone... that's just not an issue with my stuff… :oops: Well they say it ain't braggin' ifin it's true.

I'll be doing the Contours Today probably, but I still gotta lot to post... before we get there.

[webmaster edit] NO COMMERCIAL CONTENT!! [/edit]

till later.

rk

Very interested in the contours pics before I tackle a full sized strat, the minis came out ok but they are different. got the wood waitin' to be cut and clamped.

Let's see, where was I.... Oh yeah, sittin' in front of a computer...:lol:

Before we begin the top I want to mark the location of the Tremolo rout, I use two small awls to pierce the remaining 1/8th inch leaving 2 small marks on the top. I also position them just slightly inside the edges so the marks on the top will be completely removed by the routing process.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0033-3.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0035-4.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0036-1.jpg

This allows me to position the top template in correct relationship to the rout made on the bottom, despite how the edge lines up. This will keep the neck, pickguard and Tremolo all centered relative to each other.

So now I attach, clamp in this case, the top template checking the periphery to be certain it’s in the correct place. Then double checking other “land marks”, like the two marks made above, and the neck pocket relative to the edge of the body.

rk

After positioning the template, Check the neck pocket to be certain the edges line up… not like this. . .

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0037-2.jpg


but like this . . . .

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0038-3.jpg

also check the top tremolo rout position relative to the two marks we made with the awls..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0039-2.jpg

and check that the neck pocket depth is correct at 3 inches…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0040-2.jpg

While the templates typically will match the edges of the routed body, some woods will shrink, expand, or creep around, particularly if you wait an extended period of time between operations. By checking the points mentioned above you can be sure the body’s specs will fall within the “wiggle room” built into the Strat’s dimensions.

As long as the neck pocket is cut correctly relative to the tremolo, everything will work fine, even if something bazaar happens and the neck is a few degrees skewed off the centerline of the body, it will still work out and look correct.

Ron Kirn

Just as a habit, I will mark the depth of the neck pocket at this point…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0042-3.jpg

Now, routing the Tremolo top rout is simply a matter of setting the router bit’s depth beyond 1/8 and insuring the bearings contact the template.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0043-4.jpg

once that’s done, you can proceed to the electronics/pickup routs. The finished depth should be between 5/8th (vintage) and 3/4 ‘s (more contemporary and allows for more pickup choice). I’m doing ¾ inch.

I set the router to cut 3/8ths or ½ the ¾’s. First I plow away the center sections..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0047-2.jpg

Then com back and finish cut the edges. I will now set the router to full depth to cut the ¾ inch.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0046-4.jpg

The blocks are simply a time saving device, I know the template is ¾ thick, and I want to cut ¾ beyond. So 1 ½ inch is the mark.

rk

We now have the pickup’s routs to the correct depth; I’ll do the electronics in a later step… now to the Neck pocket.

I do this it two cuts too… I set the router to cut approximately ½ (not at all critical) of the depth in the first pass….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0049-3.jpg

Then set the depth to the correct depth, 5/8th in this case… and remove the remaining lumber..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0051-3.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0053-1.jpg

Then be sure ya haven’t screwed up. .

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0054-2.jpg

Now it’s time for the rest of the electronics rout and the Jack hole… the finished depth is 1 ½ inches deep, we are now at ¾, so again I’ll take half out, then the remainder.

I do it this way because a top bearing pattern tracing bit of ½ inch diameter has a shaft ¼ inch diameter, and while a shaft of tool steel may seem solid enough, the forces imputed by the router are tremendous. If you try to take the whole 3/4 inch out in one pass, the probability of the shaft breaking and making a mess of your work goes up exponentially.

rk

Now, remove the template. Using the existing walls of the electronics rout we will plunge on down. In this shot you can see the small block I made to fit into the Bridge pickup rout to provide a “wall” for the bearing support as I rout in that area..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0059-2.jpg

Once it is routed half way, I use the edge of the body to set the router bit, no chance of making the fatal mistake of reading 1 ¾ as 1 ½ that way…. Rout the remainder, Oh use the same method on the Jack cavity too.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0057-1.jpg

Remove the block from the Pickup rout and we’re done….

At this point I will drill a few necessary holes, the ground wire between the cavities…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0065-1.jpg

through to the spring cavity.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0066-1.jpg

More to come. . .

rk

Now we gotta get the wires from the Jack rout to the electronics….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0067.jpg

the brass sleeve is to protect the edge of the rout.

On contemporary bodies, a hole is cut inside the Jack rout to allow a bit more relief for the jack’s spring contact. Without this getting everything in correctly can be a challenge.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0074.jpg

Now, if while drilling from the Jack rout to the electronics rout, you dented, pressed, mashed, squshed, etc, etc, the lumber, here’s an old trick. Put a few drops of water on it, press a paper towel on it, take a hot iron, and that forces steam into the first few fractions of an inch of the surface, causing the wood fibers to expand, forcing the ding back up and out. Then sand and it’s gone…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0072.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0068.jpg

At this point it’s complete except for the contours and final sanding….. I’ll get to that This weekend..

Ron Kirn

looks great Ron, thanks for putting this thread together!

Thanks, Ron. I love this stuff.

Ron,

I really appreciate you sharing this. Thank you! It's really amazing for me to watch the whole process.

John

You make this look so easy. How many of these you done in your sleep? :smile:

How many of these you done in your sleep?

One, I had top stop, the wife was complaining about the sawdust in the bed and the noise... Picky, picky. . .

Ron Kirn

Great thread! And great work! I'm looking forward to the rest, and thanks!

Cassidy :cool:

No contours. .. on a Strat. . . Sacrilege .... As for doing anything to add to the tone... that's just not an issue with my stuff… :oops: Well they say it ain't braggin' ifin it's true.


+1 lol

One of the best threads I have seen on this board. Fantastic work Mr. Kirn. Can't wait for the next stage.

Hi All,
I am new to the forum. I am a little hesitant to post because I am not a pro player. I am mainly a hobbyist and guitar lover. This will be my guitar and I am thrilled to watch it come to life. Ron makes some fine guitars and is a nice guy to boot. I have the guitar all speced out but would love to hear any opinions and suggestions anybody might have. As of now the color will be either natural with a light tint or vintage blond. The pickguard will be either tortoise or single ply black. The bridge will be Hipshot. The pickups will be Lace Alumatones. The neck is flamed maple with a rosewood board,cream dots and a 12" radius,1&11/16ths at the nut with a medium "c" shape,bone nut,vintage tint, Sperzel locking tuners.

Can't wait to see more progress.

Paul

Well, howdy Paul, and welcome to the TDPRI. You sure are getting yourself a nice guitar.

Welcome obeleo81, glad to have you on board. you are going to have a mighty fine guitar when it's finished that's for sure. Your exacting specs are obviously what you want and add to that "Built by Ron Kim" and you've got yourself a keeper.
Congratulations and looking forward to reading your posts in future.

As of now the color will be either natural with a light tint or vintage blond

Blonde is the way to go!

Hi All,
I am new to the forum. I am a little hesitant to post because I am not a pro player. I am mainly a hobbyist and guitar lover. This will be my guitar and I am thrilled to watch it come to life. Ron makes some fine guitars and is a nice guy to boot. I have the guitar all speced out but would love to hear any opinions and suggestions anybody might have. As of now the color will be either natural with a light tint or vintage blond. The pickguard will be either tortoise or single ply black. The bridge will be Hipshot. The pickups will be Lace Alumatones. The neck is flamed maple with a rosewood board,cream dots and a 12" radius,1&11/16ths at the nut with a medium "c" shape,bone nut,vintage tint, Sperzel locking tuners.

Can't wait to see more progress.

Paul

Hi there :grin:

Your guitar should be pretty cool by the time Ron has finished .
Lucky guy :cool:

I didn't get anything done today... I had a paint faux pas to remedy today.. so I been snortin' Lacquer instead of spruce dust today....

Ron Kirn

Thanks for the welcome guys.

Paul

Moving right along. . . at this point, I want to be certain, that everything aligns correctly. This is one area many neglect. Crooked things give a very “home made” appearance. So just to be sure…. Set a neck in the pocket and take a straight edge and extend the to the tremolo cutout. Then place the loaded pickguard and a Tremolo, and see where everything falls, if all is good, let’s get ‘er done.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0001-8.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0002-10.jpg

So now, we’re good to go, so back to the panel sander to take a few thousandths off the top and bottom to clean everything up.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0004-12.jpg

Remember the Router collet being to low and burning around the Back Tremolo rout?

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0005-7.jpg

It’s gone. . ..

Ron Kirn

Now. Prior to routing the round-over, I want to sand the outside edged, Sand? Now? Yep.. I do this now because the bearing on the ½ inch radius round over bit will follow the edge, any irregularities will be reproduced in the rounded over edge, producing more sanding.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0007-8.jpg

I use a spindle sander inside the horns, and a random orbit on the outside edges, that’s this time…. I generally grab and./or use whatever tool is the handiest at the moment,.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0008-12.jpg

I’ll give the top and bottom a quick touch too.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0009-8.jpg

Now, set the router bit, and check the cut, note here I am testing it on a section that will be removed when the back contour is cut.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0012-12.jpg

I set the bit to cut just a few thousandths more, the “fuzz” will be removed during sanding.

Ron Kirn

When I do the round over, I do the back side inside the horns first. This because You must stop a little short of the Neck heel, and finish the round over into that section by hand. By making a habit of doing it in this fashion, I automatically think of it, thus preventing routing too far.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0013-11.jpg

Once that is done, it’s simply a matter of going around the body.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0014-7.jpg

ON the top side, I continue routing into the neck pocket, this produces a natural round right up to the edge of the neck pocket.

At this point the body is lookin’ pretty good….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0016-9.jpg

Many won’t have access to such tools, but here you see me using a highly specialized abrasive sliding correcting tool. Developed at Lawrence-Livermore in conjunction with NASA’s Jet Propulsion Lab, I received a call one day, asking my advice, I sed, “ Why don’t ya stick sum sandpaper on uh little block of wood, awdduh do it. So they contracted it out to Lockheed-Martin’s Skunk Works and had a few made, cost $38,093.32 each, they sent me the one you see here… U buyin’ this?

Take a small block and sand the edges, you don’t want then too thin because you’ll snap ‘em off.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0017-9.jpg

Now, lets attack those contours.

Ron Kirn

The Vintage Strats had much more pronounced contours than those seen on many guitars today, the Arm contour extended well below the centerline. I draw a diagonal line as a guide,

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0020-6.jpg

And while I’m at it I’ll mark the back indicating the back contour.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0021-4.jpg

Then I mark the approximate depth of the relative cuts..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0023-3.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0022-6.jpg

So now I have a problem, all the wood is in my way….so with the finesse of a stick of dynamite, I select an appropriate tool..

Ron Kirn

For those prone to using Starrett or Browne & Sharpe tools, I’m sure you’re wondering how I determine exactly where to cut the contours. That’s easy, I cut them in the shop, hehehe.

There was no standard, these were done by hand back then, so if it looks right, it is.

So with all the lumber in the way, I use a very aggressive grinder to rough it out, some us a band saw, but what ever method you select is fine.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0024-6.jpg

I simply remove the lumber to approximately the depth I’m looking for.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0028-6.jpg

One thing to note, I have seen many done where the contour is way too flat, it should have a nice round contour, on one axis, it is NOT a compound curve

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0030-4.jpg

Once it is about where it need to be… there are several ways to do this, the most accessible tool would be a wide, about 6 inches, by whatever piece of flat material with some coarse sandpaper glued to it.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0033-4.jpg

Using this you can remove massive amounts of wood quickly.

RK

Using the block, continue sanding until the contour looks pretty flat.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0032-3.jpg

Now, mark up the area with a pencil, this will allow you to see any low areas, stopping before getting it all consistent will result in a very poor finish.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0031-7.jpg

Now continue sanding with the flat block, observing the pencil marks. Continue until they are gone.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0034-3.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0036-2.jpg

Once they are gone, finish sand with your sander of choice, to about 150 grit.

RK

Now, I get “Green” using all natural resources, I step out side and allow the sunlight to fall across the contour, the shadows will reveal any irregularities, If any are seen, resume using the flat sander until you have s smooth consistent roll.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0037-3.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0038-4.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0039-3.jpg

Now, we have to round over the edge.

I mark a reference line that is consistent with where the round over done with the router, flows into the top.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0040-3.jpg


rk

I then mark a second line about ½ the distance to the edge and repeat on the outside edge.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0041-5.jpg

Now using a sanding block I make the first cut keeping within the inside lines, watching to make the cut consistent around the edge. When I get close I will use a finer sand paper to give me better control on the degree of cut.

Here I am just about done.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0043-5.jpg

and here it is pretty much complete.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0044-1.jpg

Now, who said that? Sure it looks pretty rough at this point. But this is fine for the moment. If you like you can give it the sunlight treatment to address any gross irregularities. But I will not complete the edge round over until I am doing the finish sanding prior to sealing the lumber.

Here she is with the sunlight falling over the edge.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0045-3.jpg

on to the back… tomorrow……

Ron Kirn

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0037-3.jpg

Ron,

I'm totally in love with the grain on this thing. The pictures are fantastic and your work is impeccable, as usual.

Well, I did some things right, and some things wrong. Thanks for the education. Really looks perfect.

Well I reckon it’s time to wrap up the body, so let’s hit the back contour…

I marked the rough location when I was marking the top contour, again, for those looking for precision in getting this exactly right, there was no “exactly right”. It was a hand process so it was pretty much to the shaper as he removed wood.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0021-4.jpg

Using pretty much the same method as I did on the top, I use the grinder to coarsely remove the wood down to the approximate depth. If this is you first try, Take a scrap of 2 X 8 pine, and cut the scalloped shape in it a few times. It’s not rocket science, it’s more an art, and while I’m no Leonardo, a little practice can’t hurt.

I stand there and hold the grinder firm with my elbows anchored in my sides, and rotate from the waist; this makes it much easier to keep the radius consistent.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0046-5.jpg

Once it’s roughed in, you can take a curved block, I made this one from a piece of 2x4, glue a course grit sandpaper to it, and begin sanding away…when you get close, do the pencil thing again to give you a visual reference, change to a finer grit and continue ‘till it passes the sunlight test..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0051-4.jpg

Now, this is a relatively labor intensive method, so if you have access to a good oscillating spindle sander, you can make ya one of these racks to hold the body in position.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0049-4.jpg

The mistake many make on cutting this contour and the top contour are making then compound curves, they were not. In the sunlight shot above you can see the curve is only radiused on one axis.

Ron Kirn

With the “jig” to hold the body I can move it against the spindle preserving the correct angle and keeping the floor of the contour flat.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0050-3.jpg

I just continue until I have the full deep contour seen in the 50’s and 60’s.

The sunlight will tell ya when to stop…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0051-4.jpg

Now, I mark the edge as I did the top to give me an indication as I remove the hard edge and roll it into the round over.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0052-3.jpg

Using the convex sanding block I take the edge down to the first cut, then repeat taking it to the second cut. This illustration shows the 3 primary cuts, followed up with hand sanding to smooth it up into a continuous radius.

http://i110.photobucket.com/albums/n102/Ronkirn/Tele_template-illustrated.jpg

rk

Here I have just about finished the roundover on the back side.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0054-3.jpg

Then after a bit of touchup with a finer grade of paper I give it the sun light test to note any gross irregularities.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0055-1.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0056-2.jpg

Some may be wondering how you get an acceptably consistent radius using a sanding block. It’s really quite easy. By moving the block down the edge it has a natural tendency to follow the previous line, cutting that line into “uncharted” wood. That, along with the sunlight’s shadow helps you know where the irregularities are lurking, so you can remove them.

Now, there are two other operations to take care of….

rk

The last thing to remedy is where we stopped the routing before we got to the Neck pocket’s heel. Using anything round with sandpaper attached, just smooth the abrupt edges into a continuous flow into the heel.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0057-2.jpg

I do one side, and then I do the other. . .

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0058-2.jpg

Now I will go over it with a bit of sandpaper, about 150 – 200 grit, giving it a good look in the sunlight, checking to insure all it well and there are no looming foibles.

The body is now complete.. all that remains is final sanding with 320, then the sealer, then the finish…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0060-3.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0059-3.jpg

I’ll begin that later this week….

Ron Kirn

My, My Mr. Kirn!...You certainly are the StratMan Mr Kirn! That is one beautiful job. It was very informative on the front contour. I've seen it done where it was just a flat cut, but that never really looked right. I put a straight edge on my california series strat a sho'nuf'. It is a rolling curve. Great job and a lot of valuable info in this thread. Thank you!
Cheers
ED

Very educational. I'm really enjoying this.

Just... wow.
Amazing thread again, Ron. Can't wait to see how this one will turn out. (though I guess exactly that is the trick, patience... :grin:)

I imagine the sitka is soft, how do you keep from getting dings and scratches when moving it around router tables and stuff like that? I always seem to get a scratch somewhere.

Is that a Willis Alan Ramsey reference...OBELEO...?

It's about as dense as Alder, and I keep the router table surface free of foreign material...But is a dent does occur, a drop of water, a paper towel and a hot iron erases it, followed by a light sanding and it's gone.

Ron Kirn

Thanks the iron is a great trick I'm going to try out on an alder body that had a tool dropped on it. The rack on the spindle sander is another one. Thanks again for taking the time.

This is so addictive. I am going to Tenerife for a week's holiday on Friday and guess what ? I've got something to look forward to when coming home.
Thanks Ron.

That's really incredible Ron, great workmanship!

Great job!

I am speechless Ron!! Great work as always bro!

Thanks for the heads up on this build. I don't get in the Strat section of the TDPRI anywheres near as much as I should being a Strat man for the past 33 years.

Can't wait to see the finished deal. Amazing!

Amazing.......

Hi All,
I am new to the forum. I am a little hesitant to post because I am not a pro player. I am mainly a hobbyist and guitar lover.

Paul

Hey Welcome to the forum....You are in good hands....Seems to me ya know whatcha want....Have it built how you want it.With it being spruce I would love to see it natural or with a light toner like a older Martin ....Again very nice git'....

I'm getting the distinct impression that this guy from Jacksonville knows what he's doing, maybe?


Thanks, Ron.

. . . this guy from Jacksonville knows what he's doing

Gotcha all fooled...:lol:

I'll be starting the finishing in a couple of daze... hang in there.

Ron Kirn

'scuse me while I pick my jaw up off the floor.

Really great stuff. Thank you Mr. Kirn.

Thanks Ron, I am learning a ton of good stuff watching this build.

looks fantastic Ron. I have decided on blond for the color and am thinking about going with a Lollar set of pickups. My reason, at the start, for thinking about using Lace alumetones was that they are dead quiet and very clean sounding.After watching this beauty get built, I think a more traditional set of pickups are in order.

Paul

Thanks, Ron. I'll definitely be looking in on this thread.

Meanwhile. . . . It’s to get ‘er ready for a bit of paint… prior to doing so, I need to check all the hand shaping to be sure the curves and round-over are smooth and liquid, not hard lines.

In this shot you can see the round over is a little irregular, so I’ll go at it with a sanding block and something like 100 grit paper… carefully and gently allowing the natural weight and force of simply pushing the block to follow the lines of the body.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0011-10.jpg

After a few strokes you can see it is not a bit more fluid.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0012-13.jpg

By “eye-ballin” is down the edge you can see the round-over produced by the router, and compare it to that you are producing by hand. By rocking back and forth between the two you can see any areas in you work that need addressing.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0013-12.jpg

And that done by machine… you can see here the hard edge the light is making more apparent, that will be smoothed out momentarily.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0014-8.jpg


Ron Kirn

I use the same method on the back. Just checking and sanding out what doesn’t look like a Strat.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0016-10.jpg

Some may wonder why I don’t use a scraper cut to the ½” radius to shape the roundovers through the contours. It’s actually easier and faster to do it this way. Further the scrapers will only track over a section of the body’s edge only as long as the scraper is thick, this introduces entirely too many opportunities for it to hit a piece of grain and dig in. Diggin’ in… not good… not good at all.

Here again, by checking the area done with the router and instantly comparing the part you are doing you will gain a good indication of what needs to be done.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0017-10.jpg

Once the round-overs are done, go over them with some thing like 150 grit sand paper. Giving particular attention to the edges done with the router, you want to remove the mechanical appearance the machine leaves.

Here you can see the hard edge as revealed by the sunlight.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0018-7.jpg

And after sanding (I simply use my fingers as the pad) the mechanical appearance will be gone, replaced with a nice smooth flowing curve.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0019-12.jpg

I’m spending so much time on the importance of smoothing the body, because it’s this kind of detain that separates the “off the rack” bargain guitar from the up scale piece. You’ll be checking the next time you visit the Guitar Mart, I know hehehe..


Ron Kirn

Now Move up to 220 Grit and do a final sand, if you’re doing an opaque or semi transparent finish, 320 if doing a completely transparent finish.

Here you can see things are coming together.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0020-7.jpg

Check all those sneaky little areas you may wanna skimp on….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0021-5.jpg

Here you can see the round-over in the horns, how smoothly they flow into the top surface.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0022-7.jpg

Now, the sunlight it unmerciful in revealing things that have to be addressed, here are two small “dings” I have no idea what I bumped, but let’s get rid of ‘em.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0024-7.jpg

Those two little chinks would stick out like a Debutante at Buddy’s Beer, Bait and Bop on Saturday night.

rk

Now, to do this we use a highly specialized tool. . .

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0025-6.jpg

Those following this are probably looking for little secrets that keep everything flowing smoothly, so run get a pencil and paper, you’ll wanna write this one down.. It’s among the most important advice I can give ya….

DO NOT USE YOUR WIFE’S IRON……here’s why….. The one you see above cost me 15 bux at Target.. or Tar-jay for the culturally bloated..

If you have a brain far* and elect to use your wife’s, here’s what happens. The iron’s bottom gets funky like you see above…. So you clean it off…. Using whatever is at hand, which will scratch up the Teflon base…. She’s gonna notice it the next time she’s ironing her whatever and it snags. She’s gonna hit the ceiling, and it’s gonna cost you a Dinner at Ruth’s Christ Steak House, at 125.00 for 2 steaks, some old grape juice, salad, baked tater, and steamed veggies…then about 40 bux for a dozen good roses, ‘cause those at the grocery store for 9.99 ain’t gonna cut it. Then worst of all, you gotta sit around that evening, chattin’ with ‘er about how the sheets don’t really match the curtains, and what some dork said while on Opera that after-noon, acting like you’re interested, then promise to take her to see Dr. Phil next week when he comes to town, and they remember THOSE promises.

Just go spend 15 bux and get your own damn iron, you’ll be glad you did.

OK . . what were we doing… oh yeah, the dings…. Put a few drops of secret ding removal liquid on a paper towel.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0026-7.jpg

Put it on the ding and iron it, oh yeah, the iron should be hot… the hottest setting….

Leave it there for a few seconds, and then remove…let the steam dry…

Your dings should now look like this. . .

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0028-7.jpg

Well, not exactly like this, because this is the body I’m doing, and you, of course will be doing another body, so they should look totally different, it they looked exactly alike, then something really freaky just happened, and we should be calling somebody to get a book deal shouldn’t we?

While in the sun, go over the whole body, look for anything that may be helped with the steam treatment..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0029-3.jpg

Here you see where something, probably a chip of wood was where it didn’t belong and left it’s calling card..

Ron Kirn

Here’s the shot I forgot to include in the last post, just place the water soaked towel on the dinged area and roll the iron across it.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0027-4.jpg

What happens is the steam is under slight pressure so it gets forced into the immediate surface, causing the fibers to expand. This forces the compressed fibers to resume their previous position and often swell beyond.

For those thinking, “Wait, don’t we pay extra for dried lumber of very low moisture content?” Yes we do, but this treatment will only effect the outer surface and dries back to normal very rapidly. This is a common technique used by quality furniture makers world wide and has been for as long as guys have been trying to get a quality finish on a piece of wood. Don’t sweat it, just do it. It’s also common for some to completely wet the surface of the piece they are working on to force the fibers to swell. That way when painted, if there is any swelling, it is greatly reduced.

To take care of a larger surface, wet the paper towel and iron away..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0030-5.jpg

Here you can see the swollen fibers and the scrape is gone.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0031-8.jpg

This works best for shallow dings where the wood’s surface isn’t broken, the resulting “repair” is absolutely invisible. If the surface is broken, it will still cause the ding to expand up and out, but the broken area will leave a “fracture” mark in the surface.

Here you see the dings removed, and ready for sanding.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0033-5.jpg

rk

Check all the surfaces for dings, and to be certain the round areas are smooth, and flowing, take care of anything that needs attention. In these shots, you can see how nicely the curves meet the flat areas… we’re about ready to give ‘er a squirt.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0034-4.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0035-6.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0036-3.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0037-4.jpg

Lookin’ good…

Ron Kirn

Now give the body a final (this will be about the last final) sanding with 220 (320 if clear finish)

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0038-5.jpg

The lumber revealed a slight coloration when it was planed down, and while ti will be virtually unnoticeable under the semi transparent Honey Blonde finish, it bugs me.. so I’ll dig out the air brush…

I wet it with alcohol to make it more apparent.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0039-4.jpg

using a piece of scrap remaining from the blank, I’ll mix a little dye in lacquer thinner, with a very small amount of lacquer to give it a little body, then try it on the scrap.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0044-2.jpg

you can see it is a little too pink, so I add a toothpick tip drop of brown and try again..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0045-4.jpg

That’s about right….

rk

Now I shield the area that is already dark, suspending it slightly above. This allows a little “blow back” to soften the edge and look much more natural.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0042-5.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0043-6.jpg

I now mount a paint handle….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0046-6.jpg

keeping it above the pocket so there will be no chipping or peal off when I remove it in a couple of weeks..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0048-6.jpg

So it gets a few coats of sealer. Which will be thoroughly sanded before any color goes on…

Ron Kirn

I wanna be Ron Kirn when i grow up.

You can see the dark strand looks much more natural now.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0048-6.jpg

And remember, I jointed at an angel to reduce the point where the two sections were joined?

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0049-5.jpg

It’ll sit for a few, then it gets sanded… see y’all for the color coats…

Ron Kirn

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0025-6.jpg

Ron Kirn

It was early in the morning when he rode into the town
He came riding from the south side slowly lookin' all around
He's an outlaw loose and running came the whisper from each lip
And he's here to do some business with the big iron on his hip
big iron on his hip


Sorry, I can't stop this song from going through my head.

Marty Robbins rules, and so does Ron...

She’s gonna hit the ceiling, and it’s gonna cost you a Dinner at Ruth’s Christ Steak House, at 125.00 for 2 steaks, some old grape juice, salad, baked tater, and steamed veggies…

Yeah, but Ruth's Chris Steak House is fantastic, even if you get the Halibut or the Crab Cakes. Don't forget the asparagus, the broccoli and the sweet potato casserole. And a bottle or two of Parducci. Doesn't sound like punishment to me.


Thanks Ron. Great thread.

Doesn't sound like punishment to me.

Nope, it don't, but there is Dr Phil.....

Ron Kirn

I got a little done today; it’s hot and dry so lacquer dries to the touch in a few nano seconds, so I thought I’d take advantage of it.

So the sealer is plenty hard, so I sand the surface with 220 grit…. I use a finish sander on the flat surfaces… I slow it down with a variable speed control.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0001-9.jpg

And on the inside and outside curves, I use a specialized multipurpose tool I always have at my disposal..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0002-12.jpg

On a Strat I prefer using my fingers for the same reason you would NOT want to use them on a flat area, they create a more flowing surface, not mechanically flat like you want on the larger flat surfaces.

I now have the complete surface sanded with 220.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0003-13.jpg

Here I went through the sealer, but since the stuff I use soaks into the wood slightly, it’ll be fine, but Check the complete surface to be certain you haven’t missed anything. Fix it now BEFORE the color coat goes on.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0005-9.jpg

Fixing small chinks and dings that have gone unnoticed can be drop filled, and any visual anomaly will be covered by the color coat…

Ron Kirn

Do some woods respond better to the iron and water? I use poplar frequently because it is cheap and abundant where I am, plus I almost aways paint, any issue?

Thanks again for taking us along for the ride.

Popular is great, it's only the very dense resinous woods that may give you a problem like Rosewood, Cocobolo, Ipe, etc... but even those will respond to some degree.

rk

Now, I’ll give it a good coat of nitro… and check it in as many lighting conditions as I can to check for anything I don’t wanna see when she’s finished…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0006-11.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0007-10.jpg


Lookin, good, time for a bit of color…. Before I begin this, please those that have been doing this for a considerable time, I appreciate input, but I am self trained over 40 years, and I ain’t uh gonna be changing anything I do, ‘cause what I do works just fine for me.

So I start with a pot of lacquer.. nice ‘n clear….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0009-9.jpg

Then I add a stick tip full of white tint. Tint differs from dye because it is opaque, and can if enough is used produce a completely opaque white lacquer. I just add touch to produce something that is like watery milk.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0010-11.jpg

This gives me something that would be perfect for a Mary Kaye finish. But we want a Honey Blonde.

Ron Kirn

Now I add a toothpick tip of brown dye, dye changes the color, but not the opacity.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0014-9.jpg

I keep a good selection of colors. Using this stuff, is as much an art as anything else. It’s just something you have to get in there and do to get the hang of it. It’s a matter of adding the basic color, and adding other tints to get where you are going. You MUST consider the color of the base wood too, it’s going to be seen too.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0012-14.jpg

The brown alone didn’t do it, so I add a drop of yellow…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0016-11.jpg

which wasn’t correct either, so more brown…..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0017-11.jpg

now it’s looking about right…. I always try to keep the color lighter that what I expect because I know I can correct during the clear coat…

Ron Kirn

Mix it thoroughly and put down a light mist, to check color….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0018-8.jpg

have a good look in different light to see what you have done..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0019-13.jpg

I now go for the full Monty,.. I put id down in several light coats, which allows me to control the density and the evenness of the coverage…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0020-8.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0021-6.jpg

Since I’m putting down light mist coats, I can never get to a full wet coat which reduces the “orange peal” effect..

Ron Kirn

This is what I mean by the ‘orange peal” look… not good. ..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0022-8.jpg

In this shot you can see an area with a good wet coat, and the as yet un-coated mist section… Oh yes, after the several mist coats to achieve the correct shade, I give it a good wet coat of clear lacquer to blend everything. That’s what I’m doing in these shots..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0023-4.jpg

Now I have a full wet coat….what I mean by wet coat is I continue laying down thin coats until I know one more and it’ll run… that’s a “feel” thing it just takes time and practice.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0025-7.jpg

Ron Kirn

By mastering the wet coat thing, you can dramatically reduce the amount of wet sanding you will need to do..

Learn to look through the finish at reflected light to get a good idea of the quality of the coat you’re putting down,,

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0031-9.jpg

and. .

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0028-8.jpg


I now have a finished color coat…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0026-8.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0027-5.jpg

later this afternoon I applied several coats of clear.. after which I’ll allow it to cure for a few days before sanding, then I’ll repeat, so just imagine me spraying paint and waiting for it to dry… till later this week

Ron Kirn

Ron,

What would happen if you added no tint or dye at all, just use that pot of clear lacquer in the first picture? Would it just look like the bare wood did except shinier?

Or is it one of those deals where a "clear" lacquer job actually needs some subtle tint to look like people expect "clear" to look?

You could use just the clear, but the UV will naturally turn the wood and the finish amber over time..

Ron Kirn

This is just simply amazing. I can't wait to see how it looks.

I'm actually planning on building one myself, and the pictures should clear up a lot of questions.

Welcome Squall, this is a great place, and don't neglect the Telecaster Discussion Forum too, lotta builds go on there too.

Ron Kirn

Great workmanship....Great photography !!!!! thanks

Great looking guitar!

I gave the lacquer 3 days to harden; down here it’s about 90, so that’s like 3 months in the rest of the country…

So I take 400 grit (I discovered I am out of 320 grit) and use a random orbit sander at about 50% speed, I just want to take down the high spots, I am NOT going for a finish sand, this is just an interim to prevent build-up on the high spots of the minute hills and valleys in the lacquers surface, Also roughing it up facilitates the new coat’s ability to melt into the previous, becoming one homogenous film.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0015-10.jpg

I use the sander on the flat surfaces, then my fingers around the periphery. There is NO need to use 220, then 320, then 500, 800, etc, At this stage, that accomplishes nothing more than consuming sandpaper, and making your arms sore. Also, you absolutely, positively do not want to sand through the clear, into the color coat, and worse, through the color, watch everything closely.

Once sanded, check it thoroughly, looking for anomalies that may make the final surface funky, take care of them now.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0020-9.jpg

Remember, resist the urge to put too much time and effort in sanding to a perfect flat surface, you are going to be spraying more lacquer, and you will be right back where you are.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0021-7.jpg

Once this sanding is completed, it’s time to get ‘er wet again…

Ron Kirn

I'm drooling Ron. :shock: That sure is looking pretty sweet bro.

For those that are gasping at the “thickness” of the finish… “Hog-Wash….!”

There is no such thing as an original vintage thin finish….and really, no such thing being offered by the “Big Boys” today. To achieve the polished surface you see on the guitars hanging on the wall at Gracious Gertie’s Guitar Garage, the manufacturer HAS to fill the grain and seal it… gotta be done. Today, I don’t care what is being inferred in the marketing copy, they are using a production oriented sealer either polyurethane, or something similar. If they are only putting a few coats of whatever they are calling nitro then the underlying sealer coats HAVE to be thick. Why? Because if they are not, it is going to take a skilled worker far more time and effort to finish sand and polish that piece into a marketable product, that ain’t gonna happen on anything less than a Masterbuilt, if then. Am I saying there is no Thin Finish? You decide…

Further real Nitrocellulose lacquer like you see being shot here, including the underlying filler coats, will finish out at about .025 thick, or about the thickness of a D string. In about 6 months it will shrink to about .017, the thickness of the G string, and in a few years it will be about the thickness of the E 1st.

That is why guys see old guitars, and think Gawd; lookit how thin that paint is…. I want one like that. Thin Nitro finishes are a result of time and the properties of the chemistry comprising the lacquer, not because someone was cinchy with the coats at the beginning.

So…. Here’s what the first good wet coat looks like….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0022-9.jpg

And here’s what it looks like looking through the finish. By that I mean look at it like it was a mirror and you were watching whatever light source was being reflected, here the light fixtures on the ceiling.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0023-5.jpg

After about 10 minutes, it is just about completely dry to the touch, but still feels just a “crack” damp; I give it another good full wet coat..

By “good-full” I mean it has all the lacquer I can get on it without it running, this is completely a “feel” thing, you just gotta do it till you can feel it…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0024-9.jpg

Ron Kirn

After the sanding, the main reason to apply good wet coats is to get enough solvent onto the previously dried lacquer to cause that surface to melt into the new lacquer going on. Thin mist coats will never accomplish this, and when you get to the wet sanding, you will find the new coats will peal off like sunburned skin. Do y’all get sunburned in Seattle?

Here the body has dried a few hours, you can see the slight “Orange Peal” But what you cant tell is how very shallow the “pits” are as compared to the “hills”. It’ll only take about 3 passes with 800 wet or dry to cut that down to dead level.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0026-9.jpg

and the back at the area of the tummy contour..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0027-6.jpg

So this pretty much concludes the finishing stage on the body, now it’ll hang in the back room for about 2 weeks before I get around to wet sanding and polishing ‘er… In the mean time, the neck should be here any time from Tommy, when it arrives, I’ll get to finishing it..

Later,

Ron Kirn

Hey RK, what's your personal favorite method for removing dust after you sand?
I'm sure I'm not the only one who feels like they owe you a tuition payment, thanks again.

I sand, then I wipe with a clean dry rag, .. then I use compressed air to blow ... then a tack rag.... blow again...... then I keep out of the clean room and let what ever is in the air settle...or be sucked out.... there is no dust free room except at NASA and Silicon Valley.... after about 15 min.. I re enter.... slowly.... then shoot the little bugger....

rk

Fantastic stuff, Mr. Kirn! I appreciate all the detail and reasoning behind techniques and processes. This is certainly making me want to re-visit the finish on my recently completed first build - while I was going for a rustic looking, knotty and grainy, natural finish hunk of wood, and every single person who sees it in person goes wow, I know that I lacked the patience and skill to get where you're going with the finish. The wipe on poly I used is good and hard now after a couple months, so I think I can treat it as sealer, gently sand it flat, and then get serious about the finish ... makes me nervous, though!

BTW: You asked "Do y’all get sunburned in Seattle?" Uh, yeah, but only every once in a while! :cool:

Awesome thread…so I while reading I had this vision of sending the following letter…


Mr. Kirn,

Please accept this post as my request for an internship with you and your company. Over the past year I have been building Teles using your templates and consistently reading your interjections in the materials supplied with said templates on having plenty of Budweiser around. While I am not a fan of Budweiser I will happily provide you the necessary quantities to tolerate my thousands of questions and many mistakes while under your tutelage. I will also provide my own pilsners and lagers of choice so we may have “seminar” in the evenings and discuss the philosophies of guitar building.

I will have to check with my wife and employer if it is acceptable for me to leave their graces for the next 10 years to work with you but I believe they will understand. I promise to sweep and vacuum the shop daily and take out the trash when needed. Please provide acknowledgement of when you are available and associated costs and amenities etc. etc.

Sincerely yours,
HiggyDude

OK – now that the “morning coffee” has worn off I’ll resort to religiously following your posts and threads…but for a moment the letter sounded like a good idea. :razz:

I do really despise waiting for paint to dry. . ..:lol:

Ron Kirn

Just returned from a week's holiday and made straight for this thread. Wow, Mr. Kirn, you have certainly not left me disappointed. Not only is your work flawless, your explanations of exactly how you do it is incredible.
I just LOVE this thread !

Shoot. . I just do guitars.... you're the one I envy.... Aberdeen... home of Dallas Dhu, Glenlivet, Glenfiddich, Strathisla Distillery, home of Chivas Regal, Benromach Distillery, and others equally remarkable...all make me feel sorry for Bourbon drinkers....:razz: and you think I got it good..... Sigh......


Ron Kirn

One of the fascinating aspects of the Internet is that it allows us "average Joes" to see the work of truly gifted artisans and craftmen like Ron Kirn. I am blown away by the fact that people with skills like Ron are out there.

It is both humbling and inspirational to see work like your's Ron. Thank you for sharing.

Sincerely,

Mike (average Joe)

There's a lotta “Average Joes” out here.... all doing different stuff, I know an average Joe that can rebuild a small block Chevy in a weekend, another that does Brain Surgery, and yet another that won 11 PGA tour events, we all like a good beer, a good game, and a good guitar.

Knowing how to do something well don't make ya much more than someone that can do something well. I just like sharing what I do... I tried to get the Doc to log onto the Neuro-yourself forum to show how to do brain surgery, he said nahh....

It is fun though.... umm . . building guitars….that is… I’ll faint at the sight of a brain…

rk

To echo Scotlands and telemomos comments......WOW! As an old fart that has put together many a partscaster over the past 25 or so years, the sheer level of professional craftmanship that Ron and several others here put into their work leaves me in awe.

While I'm perfectly happy with my old, ugly homebrew, if I were to ante up for a new guitar, I would definately look to Ron ( or one of the other amazing builders here ) to make my guitar dreams come true. Fabulous stuff! Thank you for sharing.

I am blown away by the fact that people with skills like Ron are out there.

I would venture to say that there are lots of people out there with skills like Ron's.

But so very few would be humble and generous enough to spend time with us other Average Joes and take the time to show us the magic they can do.

Thanks, Ron. This is an awesome thread. :)

That Iron trick is amazing Ron!

The USGA neck arrived, in the typical Tommy Rosamond fashion, i. e. Impecable..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0006-12.jpg

but since the headstock needed to be reshaped, there was a little work to do prior to finishing.

The choice of headstock shape can be a controversial topic, so here I’ll use other photos showing the process as it is shaped into the headstock I use on many guitars.

The first thing is to create a template, of the desired shape, I trace out the existing headstock, re-draw the new style, then using a spindle sander fine tune to the final shape.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0038-2.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0045-1.jpg

Once I’m happy with the appearance, using double stick tape, fasten the template to the headstock.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0047-1.jpg

Now, I use the router to SLOWLY remove the excess lumber, working down to the template, If you’re removing large amounts of wood, you may want to trim the excess with a band, or jig saw first.

Ron Kirn

Oh yeah, if using tape to secure the template, be certain it is firmly attached, you would want any slippage here now would ya?

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0049-2.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0051-2.jpg

once the final shape has been achieved, it’s time to finish sand the bugger.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0052-1.jpg

Since sanding is a concept most understand, I’m not posting a lot of photos, showing my chubby little fingers pushing paper over the lumber, I just begin at the spindle sander then hit it with something like 150 grit, then 220, and finish with 320.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0058-1.jpg

There are a few little things to do to fine tune the shape, mainly the flow from the back of the neck’s profile into the headstock.

Ron Kirn

I just take a small sanding block and 150 paper and allow the block to follow the natural curve of the neck, removing the hard edges the router left.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0055.jpg

once it’s about right, I check in the sunlight, the ‘ol shadow trick, and then finish sand.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0056-1.jpg

Correct any foibles the sunlight may reveal, an that’s completed…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0059-1.jpg

Now, back to our regularly scheduled program, in progress. . .

Ron Kirn

This is what I mean by the sunlight trick. By allowing the sunlight to fall over the shape, the shadows will reveal any irregularities in the graceful curves, some may be as subtle as .001 of an inch, but can be quite visible when it’s finished, so a light sanding will correct it and make life easier as you check your finished project in a few weeks.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0016-13.jpg

If you have a fingerboard that doesn’t require lacquer, do not forget to mask it…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0029-5.jpg

Now, let’s make a little amber… I take about 8 oz of lacquer…hey!! You anal types. I said. . ABOUT…. This ain’t rocket science….it’s not gonna blow up, unless you drop your Camel in the acetone laden lacquer.

So pour a bit of lacquer..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0020-10.jpg

and add about 8 drops of yellow… . I’m suing Sherwin Williams Universal dye..not cheep and not easily removed from anything you get it on..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0022-10.jpg

and on. . . .

RK

Since yellow, is yellow and not amber, I need to add a touch of red…now, you have to consider the natural unfinished color of the neck’s wood as you do this, the very light maple may need a touch of brown also… as I’m mixing, I use a paint stick I have made from a piece of scrap maple as close to the color of the neck as I can find. This allows me to assess the tint as I’m mixing…

Here I’ve added a drop of orange… orange because it’s red and yellow.. a single drop of just red would be too much….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0024-10.jpg

Here you can see the color is about right.. (depending on how your monitor reproduces color)

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0025-8.jpg

What you want is a pot of lacquer that is about the same shade as a bottle of fine Scotch, or Amber Bock beer, for those Southern Baptis**, it would be about the color of that sweet iced tea Granny used to make when you were a kid…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0026-10.jpg

now, wipe the neck with a good degreaser, to remove any fingerprints or other funk that may have landed on it… like if you neighbor is outside hosing down his lawn mower with WD 40, that crap can float in the air forever, settling nowhere but on your soon to be sprayed project…

I use lacquer thinner… and don’t forget the area where the tape was attached, it can leave a very thin residue, clean it well…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0012-15.jpg

now. . let’s squirt the rascal….

Ron Kirn

Oh yeah, when mixing your tint… keep it “thin” you want to have to spray several coats to get the correct shade, this makes it much easier to control, Try to do it in one shot, and you will be washing the neck down with lacquer thinner, thinning your tint and re-doing it.. I guarantee….

Here I shot the head, so you could see the comparison with the un tinted maple..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0027-7.jpg

and here’s the neck with one coat compared to one un sprayed…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0028-9.jpg

On this day I had a neck or two going, so there was one or two to compare it too..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0018-9.jpg

Now it’s just a matter of re-applying coats until you have the shade you want…. Here’s a tip, don’t do it all at once… leave it to dry for a while, then com back to asses the color. You will get used to seeing he shade as you are applying it, by leaving it, then returning, you get a different perspective.

Once the correct color is applied, allow it to dry for about a half hour or so… like forgetting it for a month is OK too,.. then shoot the head with a few coats of clear, to make a bed for the decal….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0030-7.jpg

I’ll beee bock….

Ron Kirn

looks fantastic... thanks soo much for the schoolin'...

Super Ron... just super!! Looking forward to seing the finished geetar.

Now that the lacquer has dried for a few hours, I can apply my decal. Since it’s a water slide, I use a special fluid, its called water….great with scotch too.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0035-7.jpg

Let it soak for about a minute, or until is slips freely around. With today’s modern decals, the film is generally a synthetic material and will stretch, so be gentle.

I put a drop or two of water on the neck to facilitate locating the decal.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0037-5.jpg

Then slide the decal off the paper base onto the neck….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0038-6.jpg

I very lightly press the decal into the approximate location, not hard enough to squeeze the water from between the decal and the neck, just hard enough to keep it from floating around.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0039-5.jpg

I do this so I can “eye ball” down the neck, or whatever other visual references, I use to get it located correctly…

Ron Kirn

Now I “eye ball” down the neck to get it visually “straight” relative to the apearent “lines” of the neck…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0045-5.jpg

Now using the appropriate applicator, I start slowly working the water out from between the neck and decal.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0046-7.jpg

The applicator is one specially designed for this particular use, here you see a roll I keep handy, I find keeping a “Bounty” of them handy is a good thing, also they can be sued as a “quicker picker upper”

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0041-7.jpg

you will see when the decal attaches to the headstock, then I increase the pressure, to work the remaining moisture out.

If you have additional decals, apply them now, it the same manner.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0042-6.jpg

Just a brief word about decals. Years ago the glue allowed for unprotected decals to have a reasonable service life. Those on Vintage products that are all “chipped” or gone, rarely fell off, they were eaten. The film was a gelatin, some used egg white, so the insects would find ‘em and have a feast.

Today the bugs wont eat the films used, but the glue is much less aggressive, so some protective coating is a must,

rk

Once the decal is set, check it closely in good lite from several angles…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0049-6.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0051-5.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0054-4.jpg

Now I let it dry thoroughly over night, tomorrow is lacquer day…

Ron Kirn

wow good work on the decal there i love it

Nice work. Thanks fer the tutoring.

This thread just gets better and better. It's like reading a great book, you are tired so have to put it down, think about it all next day then start where you left off with occasional look-backs to remind yourself how that part developed. Ron, you are now an author. :lol:

Well, I was outside, spraying, taking photos, and I realized... there isn't anything to show... ya just squirt, wait for paint to dry, and repeat, over and over….

I put down about 5 coats of lacquer on the whole neck, note, 5 coats of lacquer gives a film thickness about equivalent to one coat of a enamel, poly, etc etc…

I let it dry then lightly sand the decal, to reduce the obvious hump the lacquer leaves… then I will resume coating only the headstock face and resident decal.. again about 5 coats, allow to dry a day or so, sand, then finish with 5 coats….that will take me through the weekend, but .. the body’s about ready to polish, so I’ll be getting to that….

Ron Kirn

Ron, I just want to throw in how appreciative I am for a peek into some of the things I'd like to do in the future. I've been building from parts (but I do that with cars as well) but I think I can afford the tools to do a lot of this stuff. Might give it a try. My wife seldom complains about me buying tools, especially when they save the day.:mrgreen:

Ron, many thanks for sharing the wet layer spraying tip. That made the headstock I'm working on so much better!

If y'all have any questions, leme have 'em... I've been doing this so long a lotta stuff I do is just automatic, I don't even think about 'em, so they're so far off the radar, they don't get mentioned.

I'm sure there's something I have forgotten to 'splain how I do..

Ron Kirn

Ron,

Thanks for sharing your knowledge and spirit with us.

After a little wait, I wet sand to reduce the film thickness over the decal get it approximately level with the surrounding area…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0015-12.jpg

since I’ll be pitting about 5 more coats on ‘er it doesn’t need to be perfect at this stage

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0016-14.jpg

I do this to any decals that are applied, and check to see it there are any areas with serious “Orange Peal” if so I’ll sand them not too, but not to the level I’ll do when I’m ready to polish.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0018-10.jpg

I do the back of the neck too, since it a large flat area, it just makes final wet sanding that much easier..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0019-15.jpg

After this interim sanding, it’s back to spraying for a few more coats…

I’ll be attacking the body this weekend. . . stand by for more.

Ron Kirn

OK… that’s long enough… time to scratch ‘er up a little……When wet sanding, the choice of grit is really a matter of taste. I’ve heard of some beginning with 320, moving up to 400, then 500, and incrementally working up to a paper of several thousand grit…. When I hear that, I wonder what made ‘em stop…

Seriously, there is no reason to go through all that. The finer grits will only reduce the time it takes to polish and buff the finish, but is won’t make it any shiner. I use 500 or 600, then 800 on nitro. On harder finishes, I may take it one more step to 1200 grit.

But here, I’m using 600 first….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0025-9.jpg

Another thing that may help. . . I see some using a block that is way too small, I wouldn’t use anything smaller in flat area than, say. . a credit card. The large flat area helps “block” the surface to a very flat condition. Here, I’m using a piece of Corian that’s about 3 ½ by 4, more or less. I do “relieve” the edges with sand paper to reduce the chance of a slip-up gouging the surface.

But using mineral spirits as the wetting agent, I use circular motion watching the reflection of the lights overhead in the wet surface.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0026-11.jpg

After a few minutes, wipe the surface, allow the residue to dry, and check in natural light.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0028-10.jpg

You are looking for a nice even matte appearance., no glossy spots should remain.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0030-8.jpg

Here on the back, I have stopped early to show how NOT to do it. While this could be corrected as I move up to the next grit, that would be slower cutting, resulting in more work.

So go back, wet it again, and continue sanding until the surface is completely matte.

Ron Kirn

To do the edges, on a Strat since about everything else is a curved surface, I go to using my hand, this allows great control and feel.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0032-5.jpg

One thing you must be careful about, on the rounded edges, the small area where the paper actually makes contact can come under pretty significant pressure. The paper will cit the lacquer MUCH faster than the large flat area using the flat block, so watch what you’re doing. Get careless, and you will be saying words your Mother didn’t want ya to learn.

ON the inside areas, you will find them a bit more tedious to sand, but stay with it until the entire surface is matte.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0033-6.jpg

Now, once that’s done, it’s time to move up to the next grit…. I’m using 800 here, which will be the last….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0034-5.jpg

now just repeat all the above, but you will see, it takes much less time and effort. Just go over everything, watching closely.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0035-8.jpg

since you cannot really “see” the difference between the matte surface resulting from the 600 grit, as compar4ed to the 800 grit, it’s just a “feel” thing, and if you miss a few areas, you can correct as you’re buffing… Just to put things in perspective, I’ve seen guys that wouldn’t go any higher than 400 grit… then buff away….

Ron Kirn

Strat Build 57

Now, get in some quality lighting. I prefer the sunlight….check for any areas that may have been missed. They will appear glossy.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0037-6.jpg

Give it a good look….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0038-7.jpg

If any areas still have glossy spots, go back and correct them, ,

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0031-11.jpg

It doesn’t matter how small, they will stick out like a lunar crater in the finished body.

You should now have a smooth, evenly matted surface, ready for the buffing wheel..

Ron Kirn

thanks again RK, the picture where you stopped early to show the glossy and matte really helps.

I neglected to mention, there is considerable difference in the various brands of sand paper. There’s Norton, Gator Grit, Mirka, Klingspor, 3M and on and on…. I have found that the 3M imperial is about the best, fastest cutting around.

So we have a nicely sanded body, waiting for a chance to shine….. I “charge” the buffing wheel with tan buffing compound….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0008-15.jpg

This product it available from Grizzly.com. It’s not as messy as the liquid compounds…

Then just press and keep it moving….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0009-11.jpg

This took about a minute… really…. About a minute….Ok, Ok… so I lied, really about 68 seconds..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0012-16.jpg

This is about 10 minutes into it…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0014-11.jpg

The only caution with lacquer is that it will soften due to the heat generated by friction. This is a “double edged sword”. The soft lacquer takes a polish very fast, but soft lacquer can scratch quite easily too. Jut be careful..

Ron Kirn

One of the areas that usually get less attention is the inside of the horns; they can be rather tedious to polish. If using a power buffing wheel you must be careful not to allow the wheel to burn through. Particularly on the sharp corners around the neck pocket and heel.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0015-13.jpg

Just take it slow, I usually reduce the wheel speed to the lowest setting.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0016-15.jpg

It’s attention to detail in these areas that reduce that much adored “Home made POS” look to a minimum.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0017-14.jpg

Once this area is completed, I work around the outside edges. Watching, the reflections in the gloss on the body, much like looking at a reflection in a mirror, this will allow you to see any abrasions remaining from the wet sanding, and address them.

And this is the finished product…
http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0018-11.jpg

Ron Kirn

And the back……

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0019-16.jpg

at this point the body is complete… I will take a good car wax and give it a good polishing.

Next. . . . it’s Pickguard time.,….

Ron Kirn

Great stuff Ron .

Regarding the compound , we used to use the wheel for buffing up acrylic , and we'd find that you had to keep adding it ( we called it soap in those days ) so as not to burn the acrylic .

Same with a guitar body ?

Also , do you use some sort of cover for the wheel when not in use ?

I can imagine a bit of something landing on it to be a nightmare if not seen in time .

Yeah, I put a trash bag over it and tie it up.. I have nightmares of a bit of grit being lodged in that thing and making a nasty scratch...

and you're right about adding more.... I forgot to mention that..... every few minutes I'll hit it again..

rk

Wow, I have a table saw, but never built from wood to guitar, until now! Thanks for posting this.

David H.
Fort Worth TX.

Welcome David..... your are in the greatest forum on the net..

rk

Man that's a beautiful thing... Thanks again for sharing this with us...

Hi Ron,

Nice looking work here.

I'm trying to get a feel for finishes and this is a nice step by step. I have a much better idea of how things should look now.

I'm curious - about how much time do you spend on sanding to get the results that you do here? An hour or two? Longer? I know this is going to depend on how smooth you spray the nitro too.

How much time do you spend on buffing? And how often do you have to reload the buffing wheels?

Thanks.

The time spent typically will be about 30 minutes sanding and about an hour buffing... I'm not sure because of the constant interruptions.... the phone will ring, and I'm on it for who knows how long…. Then I’m answering emails…. so I loose track. I cannot remember one I did straight through. Throw in taking photos... and it can be most of the day...

I reload the wheel when it quits cutting... I'm not being "flip"; it's just a feel thing and watching the results as I'm buffing.

None of this follows a precise formula; you just gotta get in there and get to it. If you have never done it, take a scrap of wood, put down 5 coats, let it dry for a few days, spray a few more coats, good ‘n wet this time, let it dry for a week or so, then practice on it.

I strongly urge the novice to do that… you will learn sooooo much in one session… like hold on tight…. And when you discover burn through, it’s not a traumatic experience like when you burn off a corner of the neck pocket’s heel… I hate it when I do that…..

Ron Kirn

Hey Ron,
You having done this in a bit over a month makes me feel so inadequate when you consider I ordered your templates and started my Strat in October 2006,LOL. This thread has been even more informative and fun than your books are. I am putting the final coats on my guitar and will likely post a thread when it's done, but it will obviously pale in comparison to your works of art. Thanks again for all the help both through e-mails and with this thread.

Ty

While I’m waiting for the parts to trickle in, there are a few other things that need attention. I make my own pickguards, mainly because there is so much variation from one batch to the next from the different suppliers. Also, wood will move on ya. This way, if a body shrinks a little, I can adjust the pick guard to accommodate it.

I have. Over the years, I have made a ton of pickguard templates. I did a thread on making one a last Fall I believe, so I won’t detail how to here.

Here’s the likely candidate for today’s project.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0008-16.jpg

This one has been done specifically for the ’62 Strat. The body is only a few degrees separated from a genuine 1962 Strat. Today’s pickguards differ slightly from those found on the ’62.. so I corrected that.

Now we determine what shade Tortoise Shell pickguard will look best. I prefer the brown…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0008-16.jpg

I trace out the shape and head to the band saw.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0011-14.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0012-17.jpg

time to get busy.

Ron Kirn

I use good ‘ol golf grip tape to secure the blank to the template…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0013-15.jpg

apply good firm pressure to get a good secure bond, then to the drill press.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0014-12.jpg

I drill a pilot hole in the pickup holes, and drill the pot mounting holes, and all other holes..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0015-14.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0016-16.jpg

When drilling laminated pickguard material, use a fresh backing, If your table is full of old holes, the downward pressure from the drill press can cause the surface lamination to separate and pop lose.. not repairable… so use something below the pickguard that has no voids, and move the pickguard to a new location for each hole.

Ron Kirn

Now it pretty straightforward, just go around the template, rather slowly. Once complete, clean all the plastic shavings off the table and the work and go around a gain.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0019-17.jpg

At this point, I check to be certain the neck has a mice neat fit.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0020-11.jpg

I now change to a 3/8 inch diameter router bit, and cut the pickup holes.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0021-9.jpg

It now looks strangely like a pickguard..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0022-11.jpg

next stop. . . the beveled edge…

Ron Kirn

Now put a 45 degree bevel bit in the router… sorry I plain forgot to photograph it… but it looks a lot like a 45 degree bevel bit.

I adjust so I’m sure it will not make too deep of a cut, I want to adjust the height of the bit to get it correct, in this shot, you can see the 3rd ply, black, is just beginning to “peek” out….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0023-8.jpg

I raise the router a few thousandths… and this is the results… look close….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0025-10.jpg

it’s good, so rout the bevel be careful though, there are areas that do not get beveled, the neck pocket, and the tremolo cutout.

Now go back and check visually to be certain the “lines are all cut evenly,

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0026-12.jpg

If you see areas that are cut too shallow so the different layers of the pickguard aren’t even, re cut, applying more downward pressure in those areas. Once the bevel is correct, I move on to countersink the screw holes…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0028-11.jpg

I use the layers of the pickguard as a reference, to determine the depth, or you can set the drill press stop and use sheets of paper to work the pickguard up into the countersink to get to the correct depth..

Ron Kirn

I’ll check with a pickguard screw to be sure I know what I’m doing…lookin’ good…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0029-7.jpg

so all the screw holes are countersunk with the exception of the Switch screws.. I need those holes for the next task, cutting the switch slot…

I get my trusty switch slot gizmo….a jig I made, and a Dremel with a 1/16 inch bit/

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0031-12.jpg

The jig was made so that the 2 hold down screws are in the same location as the switch mounting screws.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0032-6.jpg

adjust the Dremel, so it will just cut through the pickguard.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0033-7.jpg

Ron Kirn

Now it’s just a matter of gently lowering the bit into the slot, and making a pass… whill continuing to move the Dremel, turn it off. Once it has stopped, remove it, and clean out all the plastic chips… then repeat.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0034-6.jpg

by continually moving the tool you reduce the chance a clump of plastic will attach itself to the bit, and burn a section of the slots edge.

We now have a slot….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0035-9.jpg

Now since the pickguard mounting screws are a different size than the Switch mounting screws, we need to watch it, when countersinking the holes.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0036-5.jpg

I just sue the same process, on the drill press, watching the exposed rings of the different layers of the pickguard plastic, then check with a screw.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0038-8.jpg

Ron Kirn

Now, sneak into the little woman’s bath and find a specialized tool. Revlon works fine…. Using the fingernail file, smooth the switch slot, and clean any plastic shavings you don’t want hanging out of it during your part of the sow.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0041-9.jpg

I now install the switch to be certain it fits and the selections can be made without any interference from the pickguard.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0042-7.jpg

I’ll not take a moment to clean any remaining plastic shavings, etc. from the back side..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0043-7.jpg

and the pickguard is now ready…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0044-3.jpg

Ron Kirn

So whadya do with a nice new pickguard, why ya load it up and wire the rascal..

So I get all the “Stuff” (technical term used in high level facilities working with cutting edge electronics, like Lawrence-Livermore labs) together, and organize it on a specially designed mat specifically intended for assembling state of the art electronics, and wiping up spilled spaghetti sauce.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0045-6.jpg

do the preliminary assembly, lock nut, star washer, and into the hole…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0046-8.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0047-5.jpg

Don’t tighten anything yet, you will usually have to slide the shield, if you use the vintage style, to get it into position. It’s also not unusual to have to enlarge a hole ot two to get it all together.

Once everything is mounted, tighten down the pots and switch… we’re ready to operate…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0048-8.jpg

Ron Kirn

Ron do you sand or buff the machined bevel on the pickguard? I'm always tempted to try to get a shine on the edge it and maybe it's a mistake since it becomes uneven in sheen.

Oh yeah, I use silicon tubing as spacers for the pickups.. It is indestructible, and if you choose the right size, it just fits over the 6-32 height adjusting screws tight enough to hold tem in place while you run the screws into the pickups.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0048-8.jpg

I also use linen string to tie the wiring to make for a neat assembly. I cannot stand to open a guitar and see old tape wrapped around the wiring, the string is so much neater.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0049-7.jpg

Now I solder the 3 primary pickup leads to the switch, and bundle the 3 ground wires.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0050-5.jpg

Oh yes on most Strats, I will use an isolated ground point, isolated by an audio grade capacitor. There is NO sonic change, but the resulting Strat is as quiet as one with humbuckers. For me, it’s a no brainer. Here’s a site with excellent info:
http://www.guitarnuts.com/wiring/shielding/shield3.php

SO just keep on following what ever schematic you have selected, until you run out of things to solder.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0051-6.jpg

For those that are inexperienced at soldering, take an old non functioning piece of electronic whatever, open it up, a hammer works well, find a few soldered leads, un connect them, and re-solder them. Do it a few times and you will start to get the hang of it.

Ron Kirn

I’ve about completed everything by now….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0052-5.jpg

So it’s about time to check things out…I’ve connected the jack. For those that may be unaware, the spiraled hookup wire is for a reason; by spiraling them you get a shielding effect. So if you want it quiet, and want the vintage appearance of cotton covered wire, twist ‘em.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0053-4.jpg

Now, I plug ‘er in to the amp, Ummmm . . . turned down… and using a specially developed tool I’ll test each pickup and switch combination.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0054-5.jpg

ready for installation. . ..

Those specially developed pickup testing tools are great, they’re available at about any Office Supply store…. I don’t know why, but for some reason they seem to think they need to hide them… they’re concealed with a fictitious name, look for Paper clips…go figure…

Next I’ll be finishing the neck…..

Ron Kirn

on do you sand or buff the machined bevel on the pickguard?

Yes I do, just by hand with a 320 - 500 whatever I grab.... I don't buff, the polished edge makes it look like those molded pickguards you see on 50 dollar Wal Mart Specials...

I sand to remove the router tool machine marks...

Ron Kirn

Thank you Ron for taking the time to share your process with us. =jason

could not be more informative and entertaining Ron...
thanks so much....I look forward to the next excerpt.

Lovin it :grin:

I'm enjoying this thread immensely Ron !! :smile:

The tip about using the string to tidy up the wiring is genius. I'll have to do that with one my EMG equipped models - it's a complete rats nest "under the hood".

I can't wait to see it assembled!

Time to convert a well lacquered neck into the business end of a great guitar….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0001-10.jpg

First thing to do it adjust the truss rod… You will see I don’t use some exotic way over-priced specialized tool. This is because I know the neck is not level, and a few thousandths variation is normal, that why we do a fret leveling.

Further… every neck made needs to have the frets leveled to achieve optimum playability, every one. Sure, with very high action you can get away without it, but if you wannem lighting fast, you gotta do it.

So take a reasonable straightedge, I
M using a framing square here, ‘cause it was close at hand. Anything of reasonable straightness will do.

Adjust the truss rod, so that it’s “pulling” the neck to flatness as opposed to releasing the tension to get it there.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0002-13.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0003-14.jpg

then use whatever method you’re comfortable with to secure the neck so you have full access to all the frets, all the time and is doesn’t scoot all over the work bench.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0004-15.jpg

You will see I use a very expensive method of securing the neck, a piece of MDF with a tapered neck pocket cut in it, shoot.. had to cost at least 2 dollars, and a screw through one of the tuning key holes, another 3 cents… expense is not a consideration when you are seeking perfection.

Ron Kirn

The screw through the tuning key hole…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0005-11.jpg

Now, using a ridged flat (should be certifiably flat) piece of whatever. Attach an abrasive. Here I am using a piece of Corian, with 180 grit resin backed sanding tape.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0006-13.jpg

Corian is a wonderful material around the shop. Flat, rigid and machines with any woodworking tools, although carbide is recommended. To get your own supply, look up Kitchen counter tops in the yellow pages, call ‘em and ask then what they would charge you for a few kitchen sink cutouts. A couple of bux would be about right.

While Corian is a very expensive material, about 30 bux a square foot, it has to be ordered in color lots. For instance, if you are doing eggshell white, you have to order enough so all of the counter’s parts are completed with that lot. Of you have to re order it will be a slightly different shade, so all the scrap it too good to throw away, but about useless for what it was intended. So just call around and ask, you will find a Counter fabricator somewhere that it thrilled to get rid of a few pieces.

Take a marker and mark the top of each fret, this will allow you to see the progress much easier.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0008-17.jpg

all ready to rock….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0009-13.jpg

Ron Kirn

Now I start scrubbing…. Allow the weight of the tool to do the work. If you start pressing, even very rigid tools can flex slightly, but by allowing gravity to hold ‘er in place, the cutting is equalized over the entire fret board.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0010-13.jpg

This is the results after about 5 passes…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0011-15.jpg

Here you can see the frets as they are being cut.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0012-18.jpg

And in this shot, all are leveled, except one…. There is always one….stubborn little bitc*

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0015-15.jpg

But you stay with it, allowing the tool to cut all the frets down to the one that is so obstinate.

Ron Kirn

Now we have ‘em all under control… each and every one I level relative to the others…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0016-17.jpg

Here is a little trick of the trade I learned back when I was young enough to learn….
The frets above the 12th are the ones that give the most trouble for achieving fast action, or for bending notes…. If you take you leveling tool and apply pressure…. Yeah, I know what I said above, but you want to take these frets on down a crack, while not affecting those below the 12th any more.

What this does is cut those frets a few ten thousandths lower that the others, allowing for slightly more clearance for the strings. Some Neck manufacturers are now offering this as a service, but since the neck needs to be leveled???

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0017-15.jpg

This bugger’s done..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0019-18.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0024-11.jpg

Ron Kirn

OK, time to finish the frets… One of the few tools you cannot make, or find a substitute for is a fret crowning file… you gotta take the leap, and get a real one too, not one of those funky gizmos ya see advertised…. People have been crowning frets for at least a Century, if there was a better way, someone would have thought of it, and all us doing this for a living would be using that method. So cut the nonsense, and get a real fret file.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0025-11.jpg

here I gave ya a time stamp, to give ya an idea how quickly this goes when you don’t have to stop and take pictures…. Oh. . Wait, I am stopping and taking photos…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0026-13.jpg

Crowning the fret correctly is a matter of watching the crown/ the leveling tool leaves scratches from the sandpaper across the frets, and the crowning leaves scratches along the length. So you can see what’s happening. It’s crowned, when you can just see a faint amount of the leveling marks remaining, just a hint…

To polish them, I save most of my old sand paper… just for this occasion.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0020-12.jpg

Then using whatever method suits you to protect the fingerboard, start sanding each one… I’m using 400 grit here…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0021-10.jpg

Ron Kirn

To protect the fingerboard, tape works well too.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0022-12.jpg

Once that’s accomplished, I mark the heel So I know it’s been leveled.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0027-9.jpg

With that behind us, it’s time to wet sand….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0028-12.jpg

Ron Kirn

Be back later.,….

So, you have a piece a bit longer than the fretboard and you sand side to side to start?

Oh.. no... sorry I gave that impression... like everyone else. I slide the tool longitudinally.. from the 1st fret to the 20 whateverth...


Ron Kirn

Ok Class, to review… we have taken a board, cut it in half, glued it together, drawn a guitar on it, cut it out, taken a router and removed whatever didn’t look like a Strat, sanded the thing, squirted paint on it, hung it up to wait for paint to dry, took some polishin’ stuff and polished it, moved on to the nec*… ahhhh… go back and review….

Time to wet sand the neck…..

Here I use a small block, a piece of Corian again and 600 wet or dry paper.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0029-8.jpg

Pay attention to the details, use a flat block across the tol and be careful around the curves, it’s easy to sand right through here…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0034-7.jpg

Once you think you’re through, back into the sunlight, check closely for those elusive shiny areas, they indicate a low spot that hasn’t been hit by the wet sanding yet.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0031-13.jpg

Oh, I mask off the fingerboard so I can sand the rosewood behind the nut, it gives a more complete detailed appearance.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0036-6.jpg

Note the edged where the lacquer can accumulate… sand until it’s all level.

Ron Kirn

I now use a specially designed tool to support the neck, this one I believe was designed by a guy named Phillips…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0037-7.jpg

using the block, I sand the edge of the fingerboard. I continue until the lacquer edge it completely “feathered” into the wood, so you cannot feel the edge…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0038-9.jpg

Once the edge is done, I sand about ½ inch onto the back of the neck using a rolling motion to keep the block flat with the neck.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0040-8.jpg

I now move to the back of the neck. A mistake many make is using their fingers for this entire step… use a block, this will flatten relative to the axis of the neck, the back, and give a precision appearance to whatever final finish you leave.

Once the neck is done with the sanding block, I will now go over it all by hand…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0045-7.jpg

While I’m thinking of it, I repeat everything with 800 grit after I do the initial sanding with 600.

Ron Kirn

In those photos, you will also notice the exotic container I use to hold a but of mineral spirits to dip the sanding block into…I find an old paint can lid perfect, the bottom is flat, and the spirits will not cause the thing to warp as it will a plastic container.

As usual, go over every thing visually looking for the tale-tale, shiny spots, sand ‘em before moving on…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0046-9.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0047-6.jpg

Once that’s done you should have a nice consistent matte, or semi matte surface begging for polishing.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0050-6.jpg

Here’s another secret tip… some … most. . .want a matte back of the neck…. As I do…. If so just don’t polish what you have done…the resulting finish is vastly superior to the sprayed semi gloss clear coats manufacturers’ use. Doing it this way gives the neck the feel or a well player naturally worn neck…

I do polish various areas of the neck… more to come..

Ron Kirn

Something I do, when I get ready to polish, I mask off areas. This gives a clean delineation between the gloss and the matte areas, it just looks nice too..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0051-7.jpg

Charge, load, or what ever you wanna call it… put some polishin’ stuff on the buffing wheel…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0054-6.jpg

and start polishing…. Those that have not done this…. This is a feel thing, you just have to get in there and do it… so if you have bought a 500 dollar 5A flame neck and are getting ready to mess it up…. Stop… go back, apply whatever finish you are using to a scrap piece of wood about the same size as your neck, and practice.. different finishes will respond to the polishing compound and the heat generated differently. It’s always nice to know what to expect, so practice on something you can throw away…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0056-3.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0057-3.jpg

if using a power buffing machine… stop every so often to keep heat from building up. Heat is not your little friend here… unless you have been doing this a very long time and learned how to use the heat.

Ron Kirn

Last time check….it’s into morning and the phone, deliveries etc are invalidating the clock….but considering all the interruptions and taking photos… not too shabby…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0059-4.jpg

by now you should have a beautifully polished neck..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0060-4.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0065-2.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0070-1.jpg


ready for the home stretch.

Ron Kirn

You may use whatever method you prefer, or none to polish the frets… I use a small power buffer, but a dremel works too. Since we sanded them with 400 grit along the length of the fret, no polishing is really required, the act of playing the guitar will press the strings into the frets burnishing them. That’s not the way I do it, mine go out so highly polished, I get calls from all over the place asking how I do it…. Hehehe my little secret.. gotta keep a few cards hidden..

But now I dab just a touch of oil onto the fingerboard..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0071-2.jpg

then sit it aside for a couple of hours to let it soak into the wood…. I use any number of oils Lemon oil is great and easy to find. Do not use oils that dry, Tung oil, Linseed oil and such are not good choices.

After allowing the oil to be absorbed, I clean the excess thoroughly.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0074-1.jpg

the final step… I give it a good coat of a quality wax, one with a high Carnuba wax content, and this is the results of the masking…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0076.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0077.jpg

Next comes the hard ware.

Ron Kirn

You can see how great that neck is gonna play,just by looking at the photos. Awesome !

Ron, a few questions if you don't mind.
What do you use for a sanding sealer since your shooting with a spray gun? I'm an idiot in regard to products of this sort. What ratio of thinner to lacquer are you using for the wet coats and misting coats?

:mrgreen:

I don't use a sealer on the neck, it's maple and so tight grained it doesn't need it. On the body I use a modern variant of Fullerplast... it's very nasty and requires special consideration when using it.. stay away unless you're going to read and observe all the precautions. It's for that reason I don't go into it in detail, there are those out there that are "smarter" than the guys writing the warnings and will ignore them.

I have found Bull's Eye is a great sealer, It's shellac based (alcohol) and may be over coated with about anything. It's easy to use, sands easy, and won't kill ya.

http://www.rockler.com/product.cfm?page=10310&cookietest=1

Ratio of Thinner to Lacquer is about 1:3

Ron Kirn

This thread reminds me why I don't build guitars. It takes way too much knowledge, skill and patience.

Beautiful work Ron.

Beautiful work indeed, and chock full of very handy tips for us hobbybuilders.
Thanks for sharing Ron!

Installing the keys isn’t too difficult, but this is how I do ‘em…. Shaller Locking…

Note that most of them are staggered today, that means the posts are shorter on some. Place the shorter posts on the 1st, 2nd, and 3rd strings. Some will have 3 lengths, the middle length would go on the 3rd and 4th in that case.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0078.jpg

Even if you ordered your neck drilled for the specific keys you are installing, You are going to find they will still need reaming. For Kluson vintage style ream the face until the ferrules slide about ½ way in… for Schaller and Sperzel, ream the back side until the key fits.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0079.jpg

Be very careful reaming. I recommend getting a real reamer.. if you elect to use a drill bit, you’re gonna screw the pooch. The aggressive bite of the drill bits cutting edge will grab the soft wood, and mess something up…. Chipped lacquer, to split headstock… so you want something that removes wood slowly. A Dremel with a round sanding bit works well too. This does not have to be a precision fit, just snug is all.

I have a rotary file that is the exact size, I use it to complete what I began with the ream.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0080-1.jpg

the above procedure sill leave lacquer curled up.. remove it with a small countersink by hand…. but remember to focus the camera if you're taking photos...

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0081.jpg

Now place the keys in the holes…

Ron Kirn

I use a small relatively straight edge to position the keys so they aren’t skewed relative to each other..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0082.jpg

Now give each a light rap with whatever… just something soft so you don’t scratch the keys..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0083-1.jpg

This leaves a slight dimple marking the location of the pins that secure the keys and keep them from rotating. I now take an awl and mark then for drilling.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0084.jpg

The tape is self explanatory..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0085.jpg


Ron Kirn

Now… drill away….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0088.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0089.jpg

Clean the shavings.. and insert the keys… now if any are skewed, you drilled the small holes incorrectly and will have to correct….

Screw in the bushings finger tight…. NOTE.. on Schaller and Sperzel, the threads are very fine and cut into soft metal, stop at any sigh of resistance. You can cross thread these babies at the drop of a hat… so you wan to be certain they are running in correctly…. Now, tighten with the appropriate socket, 10mm for Schaller, 7/16 for Sperzel… and use a CLEAN socket… the one you sued to take the lawn mower apart last weekend is not cool….

We now have a very nice neck…. And no, I cannot put the retainer in yet.,... next up. . . the nut…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0091.jpg

Ron Kirn

Screw in the bushings finger tight…. NOTE.. on Schaller and Sperzel, the threads are very fine and cut into soft metal, stop at any sigh of resistance. You can cross thread these babies at the drop of a hat… so you wan to be certain they are running in correctly….

Ron Kirn

I'm really digging this session, Ron. If I may add one thing I've found helpful to avoid cross threading screws, I always turn them backward to make sure the threads line up and then start 'em by hand to double check. I do it out of habit whether I'm putting on tuners or building a motor. I even do that when re-installing wood screws to keep the original threads intact. When you turn 'em backward you'll feel the screw or nut, whichever you are turning, drop into alignment with the threads on the other piece. I know that's kinda simplistic, but it works for me.

And in this shot, all are leveled, except one…. There is always one….stubborn little bitc*

Lolz as per usual you make me chuckle. And as per usual, wonderful thread and work.

I've found helpful to avoid cross threading screws, I always turn them backward to make sure the threads line up and then start 'em by hand to double check. I do it out of habit


Yep... Me too... sorry I didn't mention it, it's one of those little things that are so automatic, ya don't think of...

Ron Kirn

Now, the nut…

I stock the curved, and re cut it where necessary for a flat nut slot…..no rocket science here, just be sure to hold it flat to the work table so the bottom is at 90 degrees.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0092.jpg

Here you see before and after….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0093.jpg

The raw nut is rarely the correct thickness, so it has to be lapped down to the correct size… I just use apiece of 320 grit on a good flat work surface..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0096.jpg

Working it back and forth, making sure to apply even pressure and check often, what you want it s snug fit. Snug meaning you can press it in, and get it back out.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0097.jpg

Ron Kirn

In that last shot, you can see the nut doesn’t fit in all the way, so back to the sand paper…I forgot to photograph it, but I’ll sue a dial caliper to check to see that it’s consistent along the length.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0098.jpg

It fits… so not lets get it ready for the slots. A raw nut is entirely too high and wide. So I mark it as seen here, I just leave enough so that I can slot it, then finalize the height.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0099.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0100.jpg

Now back to the disk sander…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0101.jpg

I use the stick to press it against the disk, and pressure with my finger to hold it flat.

Ron Kirn

Now the ends….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0102.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0103.jpg

I just stay with it until it’s the correct length.

Now I cut the 1st and 6th string slots, allowing for enough relief at the edges… some like ‘em very close to the edges, some like ‘em all bunched up about in one notch..it just depends on what has been requested.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0104.jpg

once those are cut, they become a reference for the Stew Mac nut slotting ruler. This is 25 bux well spent if you’re doing several guitars, and I know you will, who’t ya?

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0105.jpg

Ron Kirn

Now, using the Stew Mac tool, I mark the location of the remaining notches. One of the features of the Stew Mac Tool besides being over priced, is that is automatically spaces each string so they are visually evenly spaced. If you space them with dividers or any other means of marking at precise intervals, while correctly spaced, the look un even.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0106.jpg

I use an A-Xcto knife, with the tip of the blade broken off, this gives a very fine scratch tool that just fits inside the slots on the Stew Mac tool.

Once it’s marked, I go over it lightly with a pencil to highlight the marks.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0108.jpg

Now I use one of the smaller nut files to cut a preliminary slot. I use the smaller file because it’s easier to see down the sides to get the slot cut exactly on the mark.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0109.jpg

Now, I follow up with the correct file for the correct slot…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0110.jpg

I do not try to cut them to the correct depth now. That happens during final setup. It is after that I finish shaping the nut then polish it.

Ron Kirn

Now, it’s time to place the string retainer…

I use a high precision tool to simulate the location of the 1st and 2nd strings…it’s called a string. I tape it to the fingerboard…run it down across the 1st string nut slot, around the key, loop it under and around the second key, across the 2nd string slot and tape the end.. Phew… I’m tired…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0112.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0113.jpg

Now take the retainer, place it over the string in the correct location, take an awl and mark the location of the screw. Drill a pilot hole and run it in…

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0115.jpg

As a tip, I always coat the screws with bee’s wax, an old candle will suffice too. This facilitates running the screw in what can be very hard wood.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0116.jpg

Ron Kirn

This baby’s done..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0117.jpg

I’ll now make me a subtle note to remind myself of anything I need to know when I begin final assembly in a few days..

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0118.jpg

This neck’s Made in the good ‘ol USA….

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0119.jpg

Final assembly begins in a day or so….

Ron Kirn

This is a great thread. I admire your attention to detail. I plan to start a build in the summer, and I've learned a lot in this thread, but I'm still worried about the finishing part.

http://i110.photobucket.com/albums/n102/Ronkirn/DSC_0117.jpg

That's a real classy headstock decal.

when ya start the finishing... stay with something simple, clear or tinted amber... just doing one body will get ya way up the learning curve....

If it comes out really funky, lacquer comes off with OTC removers available at Lowe's, Home Depot or Ace, very easily.. and you can squirt 'er again, and again 'till you get it right...

A few years ago a young lady did a Mahogany (not easy for the beginner) Strat with Deft... we were in constant communication... I betcha she stripped that thing 5 times before she got it to where she wanted it... and that was using the kitchen in a NYC apartment as the work shop. It can be done..

OH yeah, that reminds me.,.... Lowes is now carrying Cabot Lacquers... I haven't tried them but they are used by many luthiers.

Ron Kirn

I've been checking this thread every day, Ron! Very much appreciate all the little tips, and am looking forward to seeing the finale!

Excellent stuff ... you've got me thinking about doing a strat eventually, after I get done cutting my baby teeth on some Tele planks :mrgreen:

What? You take Monday off or something? This is worse than when General Hospital gets preempted.

Now, it’s time to place the string retainer…

I use a high precision tool to simulate the location of the 1st and 2nd strings…it’s called a string. I tape it to the fingerboard…run it down across the 1st string nut slot, around the key, loop it under and around the second key, across the 2nd string slot and tape the end.. Phew… I’m tired…

Now take the retainer, place it over the string in the correct location, take an awl and mark the location of the screw. Drill a pilot hole and run it in…

As a tip, I always coat the screws with bee’s wax, an old candle will suffice too. This facilitates running the screw in what can be very hard wood.

Ron Kirn

I learn more from reading these builds, and every one of them I read shows a new and very cool technique.

Strat Build 93

You take Monday off or something?

Nope.... actually I finished the guitar Sunday.... I took so many pictures, it took all afternoon into the evening to get them sorted, cleaned up and up loaded.....Paul will have it by time I get 'em all posted..... but here goes.....


Now… WARNING!! WARNING!!.... do not attempt the following, this is a demonstration only, performed by trained professionals, a totally crazy professional too.

In all reality, often the posts can make a procedure look deceptively simple. Don’t try this stuff until you have practiced extensively. There are quite a few snafus that can pop up and turn a perfectly complete body into fire wood.

As I’ve said often, practice makes the difference.

Now that the body is lacquered, wet-sanded, and polished, it’s time to get out one more little tool to finish it off….

http://i110.photobucket.com/albums/n102/Ronkirn/1-8.jpg

those that have seen my guitars know that I recess the neckplate, and on a Strat, the back tremolo spring cover plate, and on the front the jack plate. The problem, you cannot make a generic template to rout for these components because they always show up made to slightly different measurements.

Making a generic template would result in a margin so large and sloppy on most parts, that is would actually look worse than just smackin’ em on top like you know who. So… first I take a template I have made that is a few thousandths too small for most neck plates….

http://i110.photobucket.com/albums/n102/Ronkirn/2-7.jpg

Rout a little to check depth…. I want the neck plate to be a few thousandths above the surrounding lacquer.

http://i110.photobucket.com/albums/n102/Ronkirn/3-6.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/4-5.jpg

I now make the first pass with the router then using a high grade retainer attached to the neck plate try the fit… Oh…. The reason the neck plates are different sizes is, the edges are ground prior to chrome plating, then polished. The difference can be as much as 1/32 of an inch which may not seem like much, but sitting in a recess, the error sticks out like Bebe Netanyahu at a Hamas “Covered dish” get-together….

The same is true of the back trem cover and the Jack plate….

Ron Kirn

I now check the fit…..I do not want to have to press it in.. It should drop freely but with no more than the thickness of a piece of paper around it. Why? Because the wood will shrink and swell… the lacquer gets brittle over time… shrinking wood + brittle lacquer + non yielding steel plates = cracks….

http://i110.photobucket.com/albums/n102/Ronkirn/5-5.jpg

Now, if it fits… some times it does… cool go with it, but if not we have to make the recess, ummmmm, test recess here, a crack larger. Here’s how to do it…. Notice the first photo I posted tonight, you will see the brass template guide. You MUST use that method because despite all the advertising about your router, the template guide and router bit will NOT be exactly concentric with each other, one side will be a wee bit closer. We use this inaccuracy to out advantage. Remember what your Father taught ya about taking advantage of an opportunity.

Note the position of the router during your first pass. Place the router back in the template, turn it on… or turn it on, and place it in the template, carefully move it to one corner, and rotate the router 1/8 turn… and make another pass around the perifperhy of the template. Remove the router and recheck with the neck plate.

Oh yeah, I’ll keep a handful of neck plates because since they’re different sized I may luck out and find one that fits perfectly, but if not…. Rout…

http://i110.photobucket.com/albums/n102/Ronkirn/6-5.jpg

Rotate. . .

http://i110.photobucket.com/albums/n102/Ronkirn/7-5.jpg

Check again… If is still doesn’t fit…. Repeat the above…. Here’s to consider…. Say the router is 1/64th off center relative to the template guide…. After rotating the router, in 8 different steps around the template, it will have enlarged the recess by 1/32 inch both length wise and width… that’s a lot, and actually you do not want a margin that large.. If this doesn’t work, (it will) you’re skrued…. Throw it in the fire….

Stay with it until you have this result…

http://i110.photobucket.com/albums/n102/Ronkirn/9-5.jpg

You now know about what to expect as you have a go at the body…. Ready?

Ron Kirn

White knuckle time…..

http://i110.photobucket.com/albums/n102/Ronkirn/10-6.jpg

Take the plate and locate it over the screw holes… note, when you tighten the screws the countersunk design will force the neckplate in the direction as indicated by the relationship of the screw hole to the hole in the plate. They rarely are perfect. So you want the plate to get forces AWAY from the thin edges of the body.

http://i110.photobucket.com/albums/n102/Ronkirn/11-5.jpg

The template is specifically designed with a hi-tec material so as to NOT scratch the already finished body…. This is the “Bounty” brand…. I use a light mist of 3M – 77 spray adhesive to hold it.

Now carefully place the template over the neck plate without bumping it like I do 9 out of 10 times…

http://i110.photobucket.com/albums/n102/Ronkirn/5-5.jpg

gently clamp it in position…

http://i110.photobucket.com/albums/n102/Ronkirn/14-5.jpg

another “feel” thing…. If you clamp too hard, the lacquer cracks… too little and the template moves, converting your body into fire wood…

I give it a little tug to be certain it’s not going to move with the light pressure of the router against the template….. when you’re confident… go get those antique rosary beads your great grand Mother gave you when you were 3, fall to your knees… use ‘em… then rout a small section in the center to check depth… it’ll be OK unless you have moved the bit… you didn’t I trust, because if you did, the relationship of the bit to the template guide changed, changing how many 1/8 turns you will need to get the recess the correct size, so you have go all the way back to the beginning…. But if not… rout the Mutha…

Ron Kirn

Here’s the “Bounty” brand protector shot I forgot…

http://i110.photobucket.com/albums/n102/Ronkirn/12-5.jpg

and another thing… double stick tape?? Maybe, maybe not… the solvents that keep the tape’s stickum sticky can eat into the lacquer… which also reminds me…. As we move ahead… when ever you place tape of any kind on a lacquer surface, ASSUME… it’s going to eat into it, so do whatever needs to be done, and get it off…. NOW!!

Now you repeat what you did with the test… you will have something like this… I hope…. But not as much as you hope…

http://i110.photobucket.com/albums/n102/Ronkirn/15-4.jpg

now take a dry paper towel and lightly burnish the lacquer “fuzz” off the edge…

http://i110.photobucket.com/albums/n102/Ronkirn/16-4.jpg

now…. It’s DOUBLE whammy white knuckle time….

http://i110.photobucket.com/albums/n102/Ronkirn/49.jpg

OH the templates….I made them by hand with files, sanding drums and whatever I could find…. Don’t ask…. If you cannot make your own templates using the part as a start point you have no business even trying this. Lots of guys get ticked thinking that I’m being condescending with that statement, I’m not… it’s just the simple truth. You have to have some level of skill, and I do mean skill, to do this kind of detail work. And you have to be aware of many little things that can cause ruin… like a dull bit that will cause the lacquer, poly or whatever you have it finished with to chip and flake all around the edge of whatever you’re routing. Stuff like that just comes from getting your feet wet, and going to confession the next day.

Ron Kirn

After YOU have made your template, you gotta test it… so cut one in scrap whatever, about .030 +- depends on your part…deep… check with the jack plate upside down….

http://i110.photobucket.com/albums/n102/Ronkirn/51.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/52.jpg

Dammm. .. . first time…… but if your template creates a recess too small… cut out the test piece so you can fit the piece in right side up.. You cannot depend on the fit upside down, these things are never symmetrical.. never….so one side may be correct and the other may be off a crack…if so… file, sand or scare a few thousandths off the inside edge corresponding to where the recess rout needs to be enlarged. If to large, add a layer or two of tape to reduce the size of the template.

Complicated.. yep… and this is necessary on every single jack plate you do. The way they are stamped creates slightly different sizes, and on the better pieces, the edges are ground before plating, so until they create a CNC machine that can stand there all day hand grinding parts, they’re going to be different sizes.

Stay with it until the jack plate fits the recess…. Oh on all these operations, note the position of the router, always hold it in the same position as you did for the test cut. We are making hand cuts to a few thousandths inch accuracy, move something wrong, and it’s back to confession…

http://i110.photobucket.com/albums/n102/Ronkirn/54.jpg

now… place the jack plate on the body….

http://i110.photobucket.com/albums/n102/Ronkirn/55.jpg

Ron Kirn

Grrr,,, I forgot this shot….

http://i110.photobucket.com/albums/n102/Ronkirn/53.jpg


Ok, so the plate is just sitting there….. take your template and place it over the work area.

http://i110.photobucket.com/albums/n102/Ronkirn/59.jpg

Now, without moving the template, remove the jack plate… it should be relatively symmetrical appearing…. If so…. Clamp it down… again the guitar’s surface is protected by a plush paper towel, and don’t crack the lacquer.

Now use what ever template guide and bit…. Oh.. for the jack plate the bit needs to be no larger than 3/16th diameter… to cut the radius for the sharp round point…1/2 inch everyone has isn’t gonna cut it…no pun intended… and make your cut… I nip the top of the body cavity to check depth,

http://i110.photobucket.com/albums/n102/Ronkirn/57.jpg

if good…. Do it…… but move slow… lacquer can be a bit trying…

http://i110.photobucket.com/albums/n102/Ronkirn/58.jpg

well what do ya think… did I do it…. Or are we back to raw lumber?

Ron Kirn

Tadaaaaaa… boy, yood think I knew what I was dooin’ heheh dun fooled muhsef…

http://i110.photobucket.com/albums/n102/Ronkirn/59.jpg

Because the underside is rounded due to the stamping process, you must relieve the hard edge.. I use a Dremel.

http://i110.photobucket.com/albums/n102/Ronkirn/60.jpg

and this is what you wind up with…

http://i110.photobucket.com/albums/n102/Ronkirn/61.jpg

But we aren’t done yet…. Now it’s on to the Mega Double whammy, upchuck, wherez the Dramamine sweat bead time….

But first… I have to mount the tremolo….

I put a little tape… to be removed quickly,.. on the surface so I can draw pretty pictures…

http://i110.photobucket.com/albums/n102/Ronkirn/31-1.jpg

Ron Kirn

Ron ...

Any reason you didn't do the recesses before you sprayed ?

Also , will you be using slotted screws or phillips on the guitar ?
Personally , i'm a sucker for slotted :razz:

I then place the tremolo in position..

http://i110.photobucket.com/albums/n102/Ronkirn/30-1.jpg

Position the tremolo so the first string bridge is about 12 ¾ from the 12th fret. And mark the position. That’s what all the lines are above. I mark max forward, max back and full right and left, then position the tremolo in the middle of the marks. This gives clearance all around for full tremolo action.

Now just take a drill but of the same diameter as the screw holes and give a light twist. This will mark the location for the screw holes..

http://i110.photobucket.com/albums/n102/Ronkirn/35.jpg

Drill your pilot holes and mount the tremolo

http://i110.photobucket.com/albums/n102/Ronkirn/86.jpg

I tighten the mounting screws until there is about 1/8th clearance across the back and it is level relative to the surface of the guitar.

http://i110.photobucket.com/albums/n102/Ronkirn/87.jpg

At this point, we are ready to attack the Spring cover recess.

Ron Kirn.

Any reason you didn't do the recesses before you sprayed ?

If you recess prior to spraying, you have to guess at how thick the paint will be and allow for that dimension. It just looks sloppy...

Slot screws... I, like many who run in a few hundred screws a day, would like to kick whoever though up slotted screws posterior....

rk

I forgot. . . again… before I mount the tremolo with the permanent screws. I temporarily mount it with a few small screws to lock its location so I can place the tremolo spring cover plate in the correct location.

I now place the tremolo over the tremolo unit aligning the string holes in the block with the access holes in the plate.

http://i110.photobucket.com/albums/n102/Ronkirn/36-1.jpg

Then I outline it with tape.

http://i110.photobucket.com/albums/n102/Ronkirn/37-1.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/38-1.jpg

Oh but first. . . back to the testing….Chromed tremolo spring cover plates are not uniform in dimension either.. so you have to be accurate…

Take the template and cut a test in scrap whatever..

http://i110.photobucket.com/albums/n102/Ronkirn/39-2.jpg

Ron Krin

Using the same methodology as with the neck plate, rotate the router to get a perfect fit…

http://i110.photobucket.com/albums/n102/Ronkirn/41.jpg

check carefully… this is big… where little mistakes jump out and grab ya.

http://i110.photobucket.com/albums/n102/Ronkirn/42.jpg

once there…. Align the padded (again) template with the tape outline and note extreme precision in placement is not necessary, there’s plenty of wiggle room, you want it square relative to the body.

http://i110.photobucket.com/albums/n102/Ronkirn/44.jpg

Mount the template and clamp…. Don’t crack the lacquer… check to be certain it isn’t going to move…..

Then try a couple of test cuts to verify depth… again I want the cover to stand proud of the surrounding surface just a few thousandths, That way, nothing snags on the lacquer’s edge.

http://i110.photobucket.com/albums/n102/Ronkirn/46.jpg

Then follow the same procedure that gave you the perfect results during the test cut.

Ron Kirn

The results. . ..

http://i110.photobucket.com/albums/n102/Ronkirn/48.jpg

Not too shabby….

Tomorrow…. Enough shielding to fend off a Romulan attack…

Ron Kirn

One of the best threads on the forum .
Thanks so much for making the effort Ron .

I'm pretty sure I'd like to be Ron Kirn when I grow up

simply amazing ron. i think i recall someone asking recently (cant remember which forum) why fender doesn't recess their neck plates and trem covers... hopefully that person will see these last few posts and understand exactly why.

Tomorrow…. Enough shielding to fend off a Romulan attack…

Ron Kirn

i thought i was the only Trek nerd that plays guitar!

lol great job man, can't wait to see the finished product! been following this since i signed up

i thought i was the only Trek nerd that plays guitar!

Welcome Shadow runner.... and I have a case lined with genuine Tribble fur...

Ron Krin

Ron, two questions, if I may:


http://i110.photobucket.com/albums/n102/Ronkirn/86.jpg


You don't leave those spacers in when you mount the trem, do you?


http://i110.photobucket.com/albums/n102/Ronkirn/36-1.jpg


I noticed the staggered string holes on the trem block there. What kind of trem block is that? I think I've only ever seen blocks with all the holes lined up.

Thanks!
Jason

the spacers are silicone... search "Dalmore".. yep, they stay....

It's a Wilkinson Vintage Trem.... it's their Steel trem block, a great Tremolo.

Ron Kirn

Shielding a strat is much like any other choice made, it’s great, if ya like it, sux if ya don’t…. For me, it don’t suck….

While it can be argued which method works best, Conductive Paint, conductive adhesive metal foil, plain sheet metal, or the type of metal, what ever you choose will suffice. I use copper sheet…plain and simple…

http://i110.photobucket.com/albums/n102/Ronkirn/63.jpg

I use the templates I used for the body to outline the bottoms of the various cavities.

http://i110.photobucket.com/albums/n102/Ronkirn/62.jpg

No rocket science….remember when your Mom would make you entertain your kid Sis by cutting out the paper dolls for her? OK, time to use whatcha learned….

http://i110.photobucket.com/albums/n102/Ronkirn/65.jpg

Once they’re all cut out… I smooth ‘em out with a socket.. it’s hard, smooth and presses ‘em really nicely.

http://i110.photobucket.com/albums/n102/Ronkirn/66.jpg


Ron Kirn

Wait...you're drinking on the job????!!!!! Or is that bottle of Honey Brown really a tool you'll be using later on?

Now, I burnish it with a 3M abrasive pad, so when someone takes a peek, it looks nice ‘n pretty.

http://i110.photobucket.com/albums/n102/Ronkirn/67.jpg

You should have 4 nice flat pieces, ready for insertion… use plenty of Guitar Assembly grease too, seen here.

http://i110.photobucket.com/albums/n102/Ronkirn/68.jpg

Now place them in the cavities… no adhesive required,

http://i110.photobucket.com/albums/n102/Ronkirn/69.jpg

Once seated, I cut a strip 1 ½ by whatever the width of the roll of copper I currently have is, and spray the back with 3M 77 again.. Oh after the steel socket flattening and the #m pad burnishing..

http://i110.photobucket.com/albums/n102/Ronkirn/70.jpg

Ron Kirn

Now I carefully (it’s sticky as heck) thread the copper around the edge of the cavity.

http://i110.photobucket.com/albums/n102/Ronkirn/71.jpg

I press it firmly against the sides, first with my fingers, then do the corners with a hard tool.

Now cut a few ¾ inch strips..

http://i110.photobucket.com/albums/n102/Ronkirn/72.jpg

Press ‘em with the socket, burnish ‘em with the 3M pad… Spray the back, and thread ‘em around the cavities..

http://i110.photobucket.com/albums/n102/Ronkirn/73.jpg

You should have something looking like this,

http://i110.photobucket.com/albums/n102/Ronkirn/75.jpg

We now fire up the Weller.

Ron Kirn

Now I begin in the electronics cavity… IMPORTANT….quick fast heat here… the back of the guitar and all the beautifully polished lacquer is only about 1.8th inch away… go berserk with the solder gun, and you will go even more berserk when you flip over the finished guitar only to discover burnt, bubbled lacquer…. So small dots about an inch away.. and quick about it…. If it doesn’t catch the first time… move on… do another section and return when it has completely cooled.

http://i110.photobucket.com/albums/n102/Ronkirn/77.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/78.jpg

the little tab I add to come up and make solid secure ground contact with the pickguard shield… I’ll trim it later.

Go all the way around… the spray adhesive will hold it in place until the heat hits it, so I touch the solder, let it flow, then press the copper tightly into the recesses with a tool, stick or whatever for a few seconds until it hardens. It then becomes self supporting.

Finished..

http://i110.photobucket.com/albums/n102/Ronkirn/79.jpg

Now go back, take an awl and open the wiring access holes, one through to the spring cavity, and the other to the jack plate cavity.

http://i110.photobucket.com/albums/n102/Ronkirn/81.jpg

OK guys… Home stretch…

Ron Kirn

yep... my shielding never looked that good...

It is now a matter of assembling the parts… I begin with the Jack plate… thread the wires through the hole into the electronics cavity. Note I do not shield the Jack rout. It’s not necessary. Without getting into a discussion of the science of electronics, suffice it to say, spiraling the wires as seen here accomplishes the same thing as using a shielded wire. This is why you Automobile Audio guys can use Cat 5 Networking cable as audio leads between your head unit and the amp in the trunk. The Cat 5 is spiraled together in pairs inside the cable.

http://i110.photobucket.com/albums/n102/Ronkirn/82.jpg

I take an awl and locate the start point for the screw. Remember, it’s recessed and I don’t want the countersunk screw off center shoving the plate into the edge of the recess… crack!!!!

http://i110.photobucket.com/albums/n102/Ronkirn/83.jpg

OK,, get 2 screws and a screwdriver… and figure it out… a little Guitar Assembly Grease is good too, since a cold snap came through and the temperature dipped all the way down to the high 90’s. Humidity’s pretty crisp to… barely got up to 89….

Dammm I didn’t photograph soldering the pickguard and related electronics,, but run the ground wire through to the spring cavity, and solder the jack leads to the appropriate points…. That was hard wuddnt it?

So we place the pickguard in place.. remember with all the copper foil, if you feel resistance, stop. Remove the pickguard, straighten the bent foil and try again… a bent piece of foil can short the electronics.

I’ll run in a screw ot 2 to secure the location of the pickguard, then place the tremolo to be certain the “dimples” I cut several pages ago still bring everything into alignment.

If good, drill the pilot holes, and countersink them slightly to keep the lacquer from chipping as the screw forces it out of the way.

http://i110.photobucket.com/albums/n102/Ronkirn/84.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/85.jpg

place the tremolo and run in a few screws..

Ron Kirn

I’ll now check the neck/neck pocket fit…. Since I made the body while the neck was being made by Tommy (USACG) I couldn’t do this until after the fact… Necks are never the same, even those labeled “Whoever Licensed Replacement Neck” They are hand sanded thus can vary by as much as a 1/16th of an inch. But here it’s dammm close… but the corner radius is different

http://i110.photobucket.com/albums/n102/Ronkirn/17-4.jpg

and that is why Fender and others have gone to the Mouse Ear neck pocket so the pocket can accept any neck from any of the companies whom have produced them… Yep… it’s known as “out-sourcing”. If ya wanna argue . . consider.. if they were all made in house, on their CNC machine, controlling such anomalies would be easy, but if they’re coming from all over the place, ya gotta do something, or pay a technician to fit each and every one.

http://i110.photobucket.com/albums/n102/Ronkirn/18-4.jpg

So I Dremel it…

http://i110.photobucket.com/albums/n102/Ronkirn/19-3.jpg

Sand the edges….

http://i110.photobucket.com/albums/n102/Ronkirn/20-2.jpg


Ron Kirn

The little block is a piece of MDF I cut precisely square so the smooth bottom would ride the bottom of the neck pocket, and the edge with sandpaper attached would cut the width exactly at 90 degrees.

http://i110.photobucket.com/albums/n102/Ronkirn/21-2.jpg

Sand any accumulated crud, lacquer, whatever… from the neck pocket…

http://i110.photobucket.com/albums/n102/Ronkirn/22-1.jpg

I then apply a liberal, (the only time I’m liberal) coat of paste wax to the neck and neck pocket walls.

http://i110.photobucket.com/albums/n102/Ronkirn/23-1.jpg

then slip it in…..

http://i110.photobucket.com/albums/n102/Ronkirn/24-1.jpg

That is what a neck pocket and neck should look like….

Ron Kirn

Now’s the time for any commemorative notations….

http://i110.photobucket.com/albums/n102/Ronkirn/25-1.jpg

And I mark the back of the neck plate…

http://i110.photobucket.com/albums/n102/Ronkirn/25a.jpg

Add a bit of bee’s wax….

http://i110.photobucket.com/albums/n102/Ronkirn/25b.jpg

And carefully run the screws in… as the heads come into contact with the neck plate, watch carefully, often the screw heads are not concentric, or the holes will be off slightly, but the angle of the underside of the screw head will force the neck plate in the opposite direction. By gradually working the screws in, allow them to push against each other, they will seat perfectly.

Where are we?? What’s left??

http://i110.photobucket.com/albums/n102/Ronkirn/123.jpg

OH yeah… details. . .

Ron Kirn

Ron, if Mr. Sapata for some reason decides he looses interest, i have no doubt that you can get rid of it in a hurry.. in fact i promise it... beautiful guitar... my favorite colors/materials...

Well we aren’t quite there yet…. Those cheep plastic parts, even on the 6000 masterbuilts just blow my mind….

So the Switch tip, with it’s beautiful sharp mold lines gets worked…. I made a special tool to hold it… I put a dab of CA on it to hold the tip, then chuck it into a drill. I then hold it against some 320 grit…while it’s spinning and watch until the casting lines are gone.

http://i110.photobucket.com/albums/n102/Ronkirn/96.jpg

I then move up to 800 grit and continue until it has a nice matte sheen. Be careful the tip is plastic and this generates heat. I often do this while holding the sandpaper in my fingers so I can feel the heat…. Once ready, I’ll step over to the buffing wheel, on slow, and polish it. I forgot to snap that photo so imagine a cotton wheel 14 inched in diameter spinning at 700 rpm… with my old hands holding the tool with a plastic button glued to the end against the wheel… again, be careful, the heat generated can melt the plastic faster than you can say dawggoneit I hate it when that happens… where’s the Assembly Grease?

It now looks like Ivory.

http://i110.photobucket.com/albums/n102/Ronkirn/99.jpg

I normally remove the tip from the Tremolo arm too, but this is a Wilkinson Vintage, And it doesn’t seem to want to come off, so I’m not going to force it…. Protect the arm so the sand paper doesn’t scratch it, then sand by hand…. Same grits…. Then polish… and Ivory again…

http://i110.photobucket.com/albums/n102/Ronkirn/102.jpg

Now.. I guess I’ll use D’Addario 11’s. . .

http://i110.photobucket.com/albums/n102/Ronkirn/100.jpg

String ‘er up… want me to show ya that too? Nah… I didn’t think so…

Ron Kirn

if Mr. Sapata for some reason decides he looses interest

It's on it's way... he'll be playing 'er Thursday.. perhaps he'll post a U-tube...

Ron Kirn

Now, time to string er up and convert it from a collection of parts to a musical instrument…

http://i110.photobucket.com/albums/n102/Ronkirn/104.jpg

First thing I do is check the relief at the low frets

http://i110.photobucket.com/albums/n102/Ronkirn/105.jpg

I now cut each slot to bring the action down to something close to playable..

http://i110.photobucket.com/albums/n102/Ronkirn/107.jpg

And check again..

http://i110.photobucket.com/albums/n102/Ronkirn/106.jpg

Ron Kirn

Now I’ll get the saddles dialed in… adjusting each until the action at the 15th is about 1/16 inch…

http://i110.photobucket.com/albums/n102/Ronkirn/116.jpg

I’ll also get the intonation approximated…

http://i110.photobucket.com/albums/n102/Ronkirn/115.jpg

Now, just to be certain, I’ll fret the G 3rd at the 1st and 20th fret and check the clearance around the 7th or so… it should be a few thousandths… about the thickness of a business card. If not, adjust the truss rod, about 1/8th turn at a time…

Now it’s a matter of going back and forth between the nut and the bridge, to get low action. I leave about .040 action at the 1st fret particularly on the 5th and 6th.. and about the same at the 12th.

Once I can play it with minimal buzzing at the height, I’ll raise it to real world action and call it done.

I begin intonation with the pups pretty low. The Alnico magnets are very strong, and can pull the string into an assymetrical vibration if raised too high. This is a phenomenon known as Stratitus, since it is most often seen in Strats and Teles.

Stratitus is most often heard on the 5th and 6th strings and sounds exactly like a very bad case of no intonation and cannot be corrected by saddle movement….. None, nada bit…

To intonate…. I tune ‘er up… stretch the strings.., retune… let ‘er sit…. Retune…. Then pick a string open…. And at the 12th fret… and check the tuner.. if flat, move the bridge toward the neck… if sharp, move it away….retune, check again…. And re adjust accordingly… do that on all strings….check the tuner to insure the note played on an open string, is harmonious with the same note played at the 12th.. once you have that… I play the harmonics of the open notes at the 7th fret and again at the 19th… if it works.. It’s good to go…. I do allow the guitar to sit at least a day, several if possible, to give the wood a chance to get acclimated to the tension of being under pressure. I’ll repeat the entire setup.. fine tuning as I go. Ain’t no Pleck ever came back the next day and double checked….

She’s done….. I’m sure I neglected to mention a few things.. but that’s how I do it….

Here she is…..

http://i110.photobucket.com/albums/n102/Ronkirn/StratBuild_09.jpg

http://i110.photobucket.com/albums/n102/Ronkirn/StratBuild_13.jpg

Ron Kirn