1959 ES-335TD proto build

Discussion in 'Tele Home Depot' started by preeb, May 3, 2011.

  1. Deneb

    Deneb Tele-Afflicted Ad Free Member

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    Thanks for the advice Gil,
    of this moment I never thought of.
    I understand you, time is never enough :)
     
  2. preeb

    preeb Poster Extraordinaire Vendor Member

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    I didn't want to hold the build while waiting for the pearloid nitrate sheets so I went ahead and punched a set of pre cut LP inlays to make the 1/4" dot inlays... No big deal anyway...
    I use acetone glue for nitrate inlays. it's the strongest stuff and prevents them from shrinking. With time, only the face will shrink slightly and will get the correct vintage dots look. I can create this effect artificially, but it's too early to decide on relicing or not... need this proto to sound good first (-;

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    Once dry, the dots are sanded flush. I don't worry about cleaning the board too much in this stage because it will get the mandatory cross grain rough scrubbing at final setup.

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    I also don't want to risk damaging the perfect radius prior to the fret installation, so I don't sand the dots too much. You can still see the glue residue around them (-;

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    I use a jig to drill the side dot holes. It locks the board in place

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    and has the drilling template on the side. I use a small drill with a stop collar to get an accurate depth

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    The little white celluloid nitrate dots I made yesterday are glued in with the same acetone glue

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    I had to decide what distance to use between the 12th fret dots. It's all over the place on the old ones. I took a photo of the one with the widest spread and made the jig holes a hair closer. I like the dots far like this.

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    I use the smaller fret wire for the 58 proto. I also personally like the smaller frets for a woodier tone instrument. The wire is bent to an ~8" radius first

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    This way the tang barbs will be forced sideways when the fret gets hammered in

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    I don't cut the individual frets... it's a waste of time (-;
    Diluted fish glue is used to fill the voids under and around the fret tang (very similar to hide glue but with a much longer open time).
    Since I cut the slots 0.050" deep and the tang is about the same it might be difficult to force the glue from the sides after installation so I fill the bottom of each slot with glue using a pipette.

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    and gently hammer the fret in. I then trim it and repeat...

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    once complete I make sure the board remained 100% straight.

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    Frets are trimmed and I squeeze more glue on the fret ends on each side

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    Excess glue is wiped off. This glue dries very hard so I don't need any glue buildup around the frets.

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    Note the tight fit between the tang and the board. No gaps at all

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    Fret ends are lightly beveled with a file first

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    followed by a straight bar sander. This is how I round the frets along with the board edge

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    Fingerboard is complete.
     
  3. preeb

    preeb Poster Extraordinaire Vendor Member

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    Back to the neck.
    The ears are well bonded and the glue is completely dry by now.
    Ears are carefully sanded flush with the face of the headstock

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    Like this

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    Back of the headstock is sanded to correct final thickness

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    like that

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    Tenon is marked for cutting with the neck template

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    and I verify that the saw fence is totally square to the table

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    2 quick cuts

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    and the tenon walls are done

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    This gizmo is a tapered base to hold the neck for the side cuts. Actually it's in the same angle of the neck/body angle (-;
    It's a temporary solution of course but once the proto is completed successfully I'll make a final jig for that job.

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    Here it is in action...LOL

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    Perfect!

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    Tenon bottom is finalized

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    and some cleanup with a chisel

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    It will get further tune-up at the neck fitting stage later..

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    Tip of the tenon is tapered

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    like that

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    everything is measured to make sure the tenon will fit very tightly in the body mortise

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    Note the 19th fret location in relation to the body end

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    I also trimmed the back of the neck to final depth but I forgot to take the photos... it's in the LP proto build as well... nothing special... a robosander and a profile template jig.
    This neck is going to be a big soft V like most 58's... of course (-;

    Next, I'll continue with the body and see how the neck fits in before gluing the board and shaping the back of the neck.
     
  4. Sharp5

    Sharp5 Tele-Holic

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    Sorry that this question is from a few posts back. Is the truss rod slot cut straight, just that it is deaper at the heel end vs. the headstock end? No curve?

    Thanks!
     
  5. RyanC

    RyanC TDPRI Member

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    Gil, what color will these protos be finished in? Maybe I missed it... but you know I vote for blonde!

    Another fantastic build - thanks for sharing this!
     
  6. preeb

    preeb Poster Extraordinaire Vendor Member

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    Yes. Until mid 1960.
     
  7. preeb

    preeb Poster Extraordinaire Vendor Member

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    If everything works out OK and the proto will end up clean enough... then blonde can be an option. I'm more concerned with the tone at the moment.

    Oh... well... if it doesn't sound good enough it can't be a blonde either (-;
     
  8. Sharp5

    Sharp5 Tele-Holic

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    Any major flaws with this design? Why the change? Seems like it would be easier.
     
  9. 335 Reasons

    335 Reasons TDPRI Member

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    Great work as always Gil! I promised some photos, so there you are. I hope they will be of some use to all you "hardcore" luthiers out there!
     

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  10. 335 Reasons

    335 Reasons TDPRI Member

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    Part 2
     

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  11. 335 Reasons

    335 Reasons TDPRI Member

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    Part 3
     

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  12. 335 Reasons

    335 Reasons TDPRI Member

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    Part 4 Final
     

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  13. Scooby Snax

    Scooby Snax Friend of Leo's

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    Wow, the rout for the bridge PU is through the center block right down to the bracing and is wide open into the treble bout. Was this how you got the guitar? Is this the secret to the guitars mojo?
     
  14. telemcCaster

    telemcCaster Tele-Holic

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    No, that was a convention to speed up production. The The block was cutaway on the control side so the wiring would easily go into the body. 58 and 59's were solid though.
     
  15. Scooby Snax

    Scooby Snax Friend of Leo's

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    Ken, do you think this has an effect on tone / sustain? I would think that chopping out that section of centre block, well, that it would just negate the entire premise behind the center block.
     
  16. Nick JD

    Nick JD Doctor of Teleocity Ad Free Member

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    Please, please PLEASE get a digital camera with a MACRO button, Gil :).

    Master craftsman but blurry photos!
     
  17. neighbour

    neighbour TDPRI Member

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    That cutaway in the block under the bridge appears rendomly on guitars from 62 onwards, some have it some don't.
    my 64 for example does'nt have it.
    it would be interesting to compare two guitars with and without it although other specs are different.
    335 reasons? u wanna drop by to Tel Aviv? :D
     
  18. preeb

    preeb Poster Extraordinaire Vendor Member

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    Like any other change since the 50's... it wasn't for the best.
    I also think it had something to do with the smaller necks in 1960
     
  19. preeb

    preeb Poster Extraordinaire Vendor Member

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    Thank you for posting your beautiful guitar's shots.
    It shares a lot of features with the 64 I examined and yet again... some things are very different (-;
    Looks like the 3X5 inconsistency chaos swept through the entire 60's... (-;
     
  20. preeb

    preeb Poster Extraordinaire Vendor Member

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    LOL... no mojo here... some batches were made like this when there were factory orders for 345's and 355's (most of the time). Since the 3X5 line shared the same body they did the entire batch of the core/rims the same way.... including the variator choke cavity hence the large number of 335's with the unnecessary cavity... The size of that cavity also grew with time.
     
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