Flamed top Thinline Telecaster Build

[pipthepilot]

I managed to spend a couple of hours in the workshop after work today. I was looking forward to cutting the F-hole and getting the rough shape cut.

Always a little draughting, cutting into a nice piece of wood.


Well worth the time getting the template right and testing on a scrap piece yesterday as cutting this today was so easy and (IMO) the result looks really good. I really can't get enough of looking at that figuring.

I really can't get enough of looking at that figuring.

I couldn't help myself, I had to do a mock up. Always nice to see bits of wood starting to look like a guitar.


Next stage is to spend a few days racking my brain to make sure I haven't forgotten anything before I glue the top on.

Got my box of home made spool clamps out ready.

 

[Freeman Keller]

Next stage is to spend a few days racking my brain to make sure I haven't forgotten anything before I glue the top on.

Sign and date the inside. Install your label (right under the f-hole). Bind the f-hole if you are going to. I mask the inside of the f-holes - you can push the masking tape off inside the guitar and fish it back out,. On guitars where the wiring harness has to go in and out of the f-hole I do all the wiring with the back off (not a problem for you). Make sure you have all the wiring holes and channels in place, including one for the ground to the bridge. I don't remember what the insides of the upper bass side looks like - do you need to reinforce a strap button?

Nice looking guitar so far.

 

[GeekyToneChaser]

This afternoon, I finally found time to carve the neck. This photo doesn't do it justice but the chatoyance along the neck carve is absolutely stunning, I can't wait to see it when it's lacquered, the figure of the wood is really going to pop. View attachment 1073071

As mentioned earlier, I really enjoy the carving process. I've worked out a process that works really well for me, which takes me about 3 hours from start to finish.

I start by marking out and removing a 45 degree section along the length of both sides of the neck. This is completed with a Shinto Rasp.

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I then remove flat sections at the 1st and 12th fret to the depths that will establishes the neck thickness before removing the material in between. Before I move on, I make sure that this flat section is straight.
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Continuing with the Shinto Rasp, I rough out the curve, continuing to make sure all longitudinal lines are straight.

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Next, I carve the transition from neck to headstock with a gouge chisel. This is my favourite part.
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Nice work - the transition looks to be perfectly done. Also the birdseyes near the transition add character - that is my kind of neck.