Separate names with a comma.
Discussion in 'Tele Home Depot' started by preeb, May 3, 2011.
I could use one of these..
Do you level the frets before gluing the fretboard?
I can also take crude internal pictures with my boroscope if that's any help. Here's the tail block of my '59. It's interesting to note that the top plate doesn't touch the kerfing near the tail block (note the shadow between the kerfing and the plate)
I have no idea what for, but suddenly I need to have a boroscope.
I want one just so if I ever meet Picton I can read what he wrote on the bridgeplate.
Ever try to slip a wiring harness into a 335/345? Very handy!
Great stuff there Chris.
The reason for that gap is because the contour brace was proud by a bit, this was a construction mistake, and the plate bottom cannot flex down to get glued in that spot. Ask me how I know, LOL.
Emperor-TK, you just gave me a flashback to seeing a giant needle full of cortisone being shoved into my left shoulder on a fluoroscope. Excruciating pain, followed by hack surgery followed by selling my '76 LP Deluxe because I couldn't bear the weight anymore.
I've never stopped kicking myself for selling that one.
I slightly round the edges with the board and rough sand a little off the height as well to get to the low fret profile of the originals.
The fretwire I have with the right width and tang is a little too high.
I will file then with a flat oval crown at final setup.
Before gluing the board, the mortise needs to be routed and the neck roughly fitted for checking the angle and abr-1 clearance.
Median is penciled on both sides
Body set flat on 4 rubber cookies
Blueprint drawing is checked against the actual body and aligned with the outline and median
STP, ABR and end of the body (neck joint) are marked lightly
I now check the body top angle by using the board and setting it to ride over the body (no shims)
and fix its location like that
I check the clearance at the middle of the ABR-1 location and play with the angle until I'm happy (-;
the shim blank is made from the neck wood leftover I reserved for this purpose
and I sand it until its thicker side is the same as the gap under the board
Double check the angle with the ABR
The board was rocking over the body so that body area under the board needs to be flattened. Penciled first
sanded with a flat bar
definitely needs to be flattened.
I flatten the area as much as possible without hurting the binding and check the angle again. Much better!
The end of the body needs to be trimmed a little to fit my blueprints so I measure it on both sides to make sure the line is accurate. Once cut... there's no way back (-;
I mark the line on both sides of the body
Set the body square to the sander and sand to the line
some more sanding to flatten it
mortise template is screwed down to the top and the the mortise routed
I forgot to take the shot... but the neck is inserted and the board is placed on top of it.
I measure the angle and ABR-1 clearance again to verify the plans and templates are usable. It's perfect... so it's OK to glue the board now.
Before gluing it, the neck is roughly shaped with the template to ease the alignment of the board when glued.
and robosanded to the final template shape
I make sure the board rides the neck perfectly
I'll use hide glue with a big brush so the glue can be wiped over the neck very fast in one pass.
Neck is heated (not too much!!)
and the board is glued and clamped. I'll remove the clamps after 15 minutes and allow the glue to pull the parts together as it dries.
If anyone has access to an early 58... I have a little question please.
The 335's have the holly inlay located at the center of the headstock.
I wish there was something immediately available for buying because I don't like to cut MOP and risk the dust it creates... I already sent a scan to my CNC guy but this will take a while to program and run... so... here we go.
I took a closeup frontal photo of my original inlay
Note the crooked line on the left... I'll try to duplicate that as well (-;
Did some Photoshop magic
and printed the holly in black. Then I glued it to the MOP blank with #10 CA glue. This will keep the paper from crumbling as I cut the MOP.
I'm glad the 335 has a holly inlay and not the fountain... LOL
and the other side
I managed to create that imperfection of the original left wing as well (-;
If you were wondering why I placed it where I did over the blank... it's because I'm cheap... (-; There's room for one more.
Not cheap.. practical! Plus you get your first straight edge for free!
Try this guy.
Hah... trust me... I'm cheap with good materials... (-;
Thanks for that link Shepherd.
I'm familiar with luthiersupply's inlays. They are inaccurate for me.
tuner holes locations are marked on the Holly veneer
In the early years the inlay was placed low on the HS. The bottom of the inlay is about 1/4" (give or take 1/8" variations) bellow the the A-B tuners center line.
Holly wood is flexible and easy to cut so I'd rather chisel the outline real quick.
Better and quicker than using a routing template.
Black filler mixed
back of the veneer is masked, filler is applied first and the inlay is pushed into the cavity squeezing the filler out to fill the cavity properly (no air bubbles...)
entire cavity area is covered with filler (it will shrink as it dries so it's important to apply it a little proud of the surface)
I now clamp the veneer flat to the table to avoid warpage. Thin Holly veneers tend to warp badly if not kept flat and if that happens as the filler sets the inlay will not be placed right on the veneer plane.
Cheap? Not at all, the term is "thifty"!
Preeb, before I ask a question, let me first applaud the level of detail that you have been sharing in this thread. I'm sure it will come in handy when I start my build.
OK, now my question... I realize that Holly is the traditional Gibson veneer material, but do you find that in practice there are any advantages over a light colored maple? I've always used ebony for my builds previously, but I want to get a more authentic Gibson look for this build (particularly when I inevitably ding the headstock). I have a small stack of light maple veneer sitting in my workshop. Any thoughts?