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    Luthier Make Your Own Electric Guitar Bass PDF

    Uploaded by

    Lovasoa Mbolamanana Joseph Andrianiriana

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    mal te ns ‘& ba Der eva eet Be ee nond * | Make Your Own Electric Guitar Dennis Waring and David Raymond with an Introduction to playing by Thomas Randall i SC ea ce Oe Cl Cg Content Intioduetion 4 Guitars Through the Ages 5 Constructing a Six-String Guitar Tools and Materials 9 Explanation of Tools 9 Jigs. Templates, and the Router 12 Wood Lore and Selection 12 Design Considerations and Preparalion 13 Body shape 13 Parts ofthe Gultor 14 Headstock Design 15 Neck Considerations 17 Neck/Body Connection Options 19 Neck/Body Angle 19 Bridge types 20 Creating 2 FullSize Paitern 22 ‘The Guilar Body 24 Preparing Wood Stock 24 ‘Making the Pickup’ Neck Pocket Master Template 26 Routing Process for Pickups and Neck Packet 27 Cutting and Shaping the Body 28 outing the Flectionics Compartment 29 Bridge Placement 30 Neck Screw, Femule Holes. and Truss Rod Nut Channel 32 Cavity the Body Contours 32 Neck Pickup Wing Holes 33 Neck and Headstock 34 Wood Preparation 34 The Neck 35 The Headstock 37 The fingeibourd 39 Preparation 39 Gut Fret slots 40 Finwetboord inlays 40 Gluing Fingetboard to Neck 41 Fingerboard arching 42 Initaling Fieis 43 Finishing Fels 44 Fingerboard Side Dots 45 Assemblage 45 Filing Neck 10 Body 45 Tuning Mechanisms 46 The nut 46 Instaling Pekups 45 Electronics Compartment Cover 47 Strings and Setup 48 Finishing 40 Sanding 49 Staining 49 Sealing Woods 50 Crain Fiter 50 Topcoals 50 Rubbing Out and Polishing 51 Finishing the Fingerboard 51 Wex 51 Constructing a Bass Guitar 52 ‘The Neck 53. ‘Truss Red and Headstock 54 Fingerboard and inlays 50 Installing Frets 57 ‘The Body 57 Assembling the Body and Routing for Electronics 58 Pickup Cavities 50 Body Roundover and Body Contours 59 Petting 59 Prefinishing 60 reassembly. 60 Setup 60. Appendix 61 ‘Master Drawings for Guitar and Bass 67 Guitar Patterns 62 Bass Patterns G4 Playing the Electile Gultar and Bass 66 Hectonics 71 Wood and Tene 89 Finishing Options 92 ‘Tool Sharpening 93 Index 96 Intr Th ua s probably the-rmost popular musical rstrumert in the ‘world This femarkable device wit ts mary vant fons, has eresed ‘al gengrapcal Boundaries and is now played In an enormous variety ‘of cultural contents. From Ablcan beats ta eazy rete, Ait Pop to ast Indian classical. ts orgoing adaptability srr nities. In recent decades, the election ofthe gular, espctaly In ks solit-bedy fon and the deminance ef America popuar cilture, nave transtonned rusia! sensibities yopelly. Ofer early unites ‘onl variety, he electric guitar has neceme-nne e# te most prominent ‘struments it jze. pop, rock, and wold music today, Altvough mitch has heen writen about the esc gular and is consaucion. there rernlns a Himes amount of practical mata ‘within reach of the amateur woodworker This hook enyptastins ecessiily. a Gear, methoctca step-by-step process reser in dracive,functiana’insrumwnts. ying commen woec>uorkingt 008, easyo-onder materials, and avaliable resources toy finding fletronie cammponents and other hardware, ths wolurne provides all. ‘heryecessaty Information for ie aspiieg instumiert maker and those seeking a bettas understanding ofthe instimert tn adgtion to Instuctios for building a stance fst sold bbooy made! kar, there are directions far making an electri bass gua. The kita section contains detailed ascusseass a major procedures common to teh guitar and bess. Options ard reteceiees {ot further eweopment and enharicement are found ithe Appendhe ‘this took Hectic gular and basses are excelist vehices fr reat tn bot bull ane paying, Every aspect of thelr design fiom the shape to the eetronics 6 the materia they are made fron, open 10 tinkering. cestomizatin, cr alloutFevoltion, Salle body elec Instruments present a unique aryalgarnarion, eambining he oldest ‘lements of musical insttumert making knowleage, a ‘bestoF selection ‘arn te history of electronics. stunnirg visual design. anda capacity to Incorpoule new ideas. Tougduk the short history, these ‘ntruments have benef trom the efforts of irowators represering teny dlverse bockyyoundls- lected engineers, aerospace technicians, fine woodworkers, aris, and even thoss seeking ceaper means of ‘ass-proctton have contrbued enormeusty to te advancement of the lect guitar and bss. The result fsa unigue opportunity 1 the Dulidss personal expression ort mary vel. (Oe reason forthe constant advancamtont of elect: srlaged Instrument oesign isthe aecessint ofthe constructon process. White technology has made t more difieul ‘or the average pesson to une lek car OF x household apptances, not to mention Pull beter ‘versions ofthese tems, slectc guts and basses ofthe highest quay comme tobe tule by inaviduals tn home werkshons These Instruments te rately simp, rational, ane ten oid feshiones teernologes to generate sounds tnot continuous challenge and excite bot players and Ksterers. People sash to ener this fel today have access to resources Hat were untezmned ata decade ag A large vary of tools, hardware, eleésanics and wood Is walls fran ‘number ot sectaly supplies, ard the Internet has broupht a rovokiton hy ceess to information, leas, and experiences OF Irena 4 ction allover he worl. This unique combanaton of new or od makes these Fotrames among the most ewardng prs Othe rete srecalyiete ee “is book ches he process of buon an sleeie Rta and bass The tris are esr! usta he fondo fect uitar a bass consti, Step-nystep precedes proce intrest ane stahtonard bu of hgh quay Whe any dhe eps require doumiryprecse operations they ae faced by the se offs. pater, ar! templates that iw he pain, erst beget 10 proce protessoral rests, Our is uctons serve as an inition vo etre of shop proces and robles ng se Used by mace nstumect ake "The to Insets edn ns book tte w comknan et raaional ard moi ces fentues. They ae capable ct a vide range of icles wit verse yet acess electronic and Pickup Caves Pater sia A rial plokip cavity and 8 aiea writer pichup legs “The Master Template is used! for routing the neck packet and {wo pickup cavites in the guitar body, We make & from 7 in thick masonite because its Inexpensive, available, ang easy to work {you wish, guttar supply companies sell pre- ‘machined templates) Buy enough masonite for two thicknesses of temipiate materlal necessary 10 complete the routing procedure. Routing wi be macke with « % in steph router Bit wlth a ‘matching halt bearing guide and a long shank capable of cutting 1% in cep (see Jigs, Templates, and the Rovter, p 2) CG ane thickness of masonite 20 In x 14 In, Mark @ 35 Determining the heel Shope 36 Ourboay with luneanveet fee and finished body Fervule notes are dilied when Wo! is stifscuare, to sition them ‘evenly. tndividual depts match heel contour 37 Setting del press depth stop 38 Dring ferie holes 42 Marking he hoot charter 39 Finished ferle hoves. wih varied holes Determine the shape of the hee chamfer and draw a guide on the sides of the heel area (Fig 35). Do not remove too much wood around this area. A sitong neck ody joint is important to the tone of the instrument (Fig 30) nee the chamfer guideline is drawn use it to mark the appropriate depth of each ferrute hale, Set the depity-stop on the dell press accordingly (Fig 37). Drill each ferrule hole with a % in Forsiaer Di, to the predetermined depths (Fig 38 39), With Sein bit, dill a have for each neck scree in the center of each ferrule hole, through to the neck pocke' (Fig 40}, Rout or chisel @ small channel for the truss rod adjustment nut (Fig 41}. you wish, this may be dane fates, once the neck is ready to be fitted to the hody. 41 Tussred chara! 40 pruitig neck screw Heol ehomfer (Fig 42.43, 44), back contour Fig 45, 46,47 and ann bevel ig 48) may row be carved using spokeshaves, drawknives, Scrapers, and sanding Hosks Testi cach area for ‘maximum comfort and pleyabiity (Fig 49). Final adjustments may be made once the instrument Is assembled and teststiung before finishing 483, 14 Carving the hee chamfer 46 Garvie the back contour with a Spokeshave © Dil fouhxtes m the Doody for the electric wining: (1) a hale eto the electronics compartment (or the output Jack, (2, 3) “ia tve dectncs compartirent ito the pickup caves, “ani one ‘rom underneath the hridge tothe electronics “érnpariment tox a ground whe. “heaps lack note passes straight through the side of tye Wodjat he lower bout. Orit the Output fark hole with a7 Deion one tat sts coves) A Forse: LIS est fot this “8 Fis 501 be caretut rot 10 chip the edges of the hokes sg the eectrosocke Jack mount cover has vety Hie “avenap. Dit hefe connecting te electrontes compartment ang Aw pec pedup cava wits « 12 in tons, am ti ig SH, “Tee pases irreugh the output jack hate to keep ib ‘pale! tothe top oF the Doty, The hole should interseet tne Pickup cavity inthe comer closest to the electronics MeN: Lorate this point on the back ofthe Dody and aA tt clecle axauind it he hack of the hocy above the oulput jack Mole, mark Hines representing. ts outside edges Alig a streighietge ese of he Yin circle and the output jack hole 481 Carving the orm Deve) 47 Seriting the back contour smooth wa an eraser asa soning block, Flex te eraser sighity for concave curves P| # 449 Testing the contours in pleying position 50 Output jack hote aad Forster bit 5% (right) Setlra up to cll tne neck pickup whing fate, The cecte fraund the entry point wil et you see f te bit hits off comer as stort te note and diaw a tine, Repeat on the other side of the A in citcte ‘These two fines vepresent me path of he bi. "This hole is tiled “ in from the top of the hody ‘0 intersect the bottom, ‘of the neck pickup cavity. Our body is Yi holes ck, nthe ition Ue back OF the instiament Prot a point on. the electronics compartment wall between the two drawn fines, 7% iv Avon the black Draws crasshaits at this point ‘and pre’punch It using an at S2Thebt enenging bo the pickup. cavity 53 Dailing the bridge pickup wiring tole 54 Driting ihe ground wire hole Visit your local harewood dealer to select wood for the guitar neck oF find @ mall order company that carries specialty woods. Choose the wend carefully (gee Appendix: Wood and Tone p 89}. Make a one-piece neck with a separate fingerboard, This produces excellent results with minimum difficulty, We use maple for our guitar neck raw an actual-size side view ane top view of the neck on paper or pasterboard to use as templates. The neck blank, should havea final thickness of 1 in, Depenling on the 34 Make a dri guide for the output jack hole to help control the long bit by covering the hole with-thick tape metal shielaing tape works well and cutting a 4 tn hole. 6 in. rom the back (Fig 51) thsert tne cl bit through the hole (n the tape and stat tin the pre punched hole. Be especially careful begining the hole i the compartment wall is at more than a slight angle 40 the trajectory oF te ail it, Just alter the bit break the surface, check the crosshairs. 3 the bit has been deNected off center, compensate with the same deflection atthe taped ‘output jack hile, Once the hole Is hegun. turn the body aver to see when the bi emerges into the pickup cavity (Fig 52). Drill slowly and Clear the bit of chips frequently s0 the drill bit wil come. out a the right place ‘i ajwiher connecting hoe front the bridge pickup eanty to the electronies compartment. Use the 12 in tong, it, ‘mamaiing as ow an angle as possble without hitting the ‘apponite edge of the pickup cavity (Fig 53), This hole is about 2 in lang. Dill slowly as the dl breaks ‘to the lectronies compartment 0 mlainice chipping, ‘The last hofe is drilled from beneeatty the bridge into the electronics compartment, this time using a 12.19 fang. ‘in Bit The hole is located hetween the sing holes and the neck-side edge of the bridge: fowards the elecronis compartment (at left, Since the hole is at an extreme. ‘angle, there fs 8 danger of the aril bit skipping over the face when attempling to start the ole. Use a vertical Ie in pilot hove Yin deep to help prevent this headstock design, the vera neck lena beeen 26 ‘and 27 in, Leave an extra Ip for 0 working margin for total stock longi of 32 in A a in margin shouldbe let a the body endl oF the neck blank io help support the router ‘when eventually routing the truss rod slot Cu the neck biank to fengih. The width of the neck blank should accommodate the width of the: headstock design Note Since tetallers measure wood in its rough sawn site thickness is expressed in quarters of an inch, 14 n equals 14 jn. This is a nominal thickness: toa Usually fess, For 1 in thickness, you aray have to buy 2 piece: Plane-the board toa 1 in thickness making sure the: fhgetooard side is pertecty tla. Joint the bass side edge ol he blank Place the neck pattern on the neck blank to Ahecshow the neck design velates to the grain _ Grfiguaion, Tra cerertine up the neck blank para (othe jointed ‘ae he board This wil Hep in centering the neck ‘epalyan wl act asa gulde in outing te chanel for “hers 1 jabove) Transfering neck cutie to wood 2 Hand saw ether side of neck the neck template, bansfer the neck design to he. isl (Fg 1). five band sav, remove wood from either side of the TEK between the nut to about 3 in from the end of the: 1F2). The two enus of the neck are left full width for step In the process, a Sw in working margin on either side of the neck G3). -Viravknife and spokeshave to rough-earve the back of sk eaving “4 tn to Yn in extra for later removal (Hg. 4, 3 Bind saw, Since most harchwoods will move slightly after cutting, heck outine ‘enstan in the wood will be Inmediately released at | A at-sawm piece of maple will usually bow ‘back (fol the fingerboard side as the wood Is "movement. Wait a few cays for the neck to ‘aay guitar companies wait months after rough necks betore proceeding if the neck. lay a ruler oF other straightedge fate Of the bank to check for warpage (Fig 7). acer nener 5 (above right) Rouigh-canving ech with spokestare 6 left Checking jor moverenc neck 7 nant Neck ece was Jt before caving, bowed after Check the neck periodically for movement. Once tthas appeared t0 stable, resurface the top if necessary to 8 fight) Loying out wuss fnsure thal it ls periectly flat. A wel-adjusted joiner or rou postion long sending oar are useful 10" is acess. cane once it fat, reeraw dhe centrtine and mark the spneten tenth ofthe tase rod and ts fd chan on he 10 ower right) Router wood (Fe 8 guide in place on rieck ‘Due truss rod requires a channel “es in wide and “Ain deep with a small wicening of the chunnet at the body end at Ive neck blank foy he fuss tod adjusting wheel (Fig 9) Set tp a strip of wood as a fence exactly parallel to the centerline of the neck fFig 10), The rouler edge guide moves along this fence to insure a straight fine Screvr the ferice to the heck blank at a contact point oubide the neck ouitine (ig 11). The fence plece must Have bro straight parallel sides arc (ine up perfectly with the neck centerline when In piace. Double check and adjust with shims if necessary See te ck he Werner For best over esa rather than clamping the mleck to the bench, serew the nedk Hace ted once pute Radar te Blo: caper 11 (ieft} Screws used to mount the bench {ar use a caret makers bench). (Oe HIME CE HOMIE ag 3 Yi ik uke Sevotal passes to achieve the rl 12 arf oy re Goan an wish oe russe charel src hel Gr nicl te wan arin erted atte et only nethe onseee fs eine Rt cee Tal Sve paseee SCLIN GE Gh VETS tarde othe charel ROU 618 1 13 foelow right) Routng tne truss rod channel. end view ‘Cut the excess wood trom the sides and end of the: neck hee Fig 14), Leave Yn working margin on the sides. Cat the back af the neck heel and biock sand to % in thik, parallel to the top of the neck (Fig 15). Rough-sand the end Gf the neck (but not the sides) 50 that the heel begins ee conform to the neck pockst i the fody, Final iting wi come tater (Fg 16) Testtt the tuss rod In ts chanel. We widened the channel slightly around the adjustment wheel {or proper clearance ig 17) 14 (bottom let) Trmming exces: Woo around ee 15 (bottom midaie) Rararning bach ofhed 16 (ugh top) Shaping and of hoet 1P (igh bostom) Tras ord in place = i Let tock ~ DiaW 9 ine wtiere the nut wil be tistalled (see Appenaix _Heudslock Design, p 63). Segment itor six stings atthe mut Wilh Draw ives representing the ouiside strings as they Ps through the nut and ont the theadstock. These wit Help detenine the best placement of the tuners. When Pong es, jake Inlo account the chametey of the tuner pss drawn at right, Tuner holes should be-centered fo one . Sie ol each sting tne, halt the width of the tuner posts (ce having at igh, hsinonaside headsiocks. tuners are usually placed "Yc ie i apart depeding on the winer style you use. The ufenent ftom the center ofthe fst tuner post wo the sie the nut is usually around 1% tn fig 18), Bole for tito Gorter pois of ter hoes ae eel rom sing tne Oy the | ras of tuner sting post esualy Yn “Maik the act placement of ail six tuners and drill thelr ‘aleson a dr poss, ‘Nits Any msallgnment ofthese holes wil show. If youre -cmnferable fechanding them, use the following “ovedre, Draw a line paral to the centerline of the ei posts list outside the actual outine of the headstock. 1BLacating timers 19 Guiting sag de for tare vlact.as & guide for diiling the tuner holes on the ating Eg ESS. Cut along this tine Fig 19), then male any djusiments with a fle or sanding block 10 sre parallel to te tune line Fig 20) Sagar draw anes from each tuner centerpoiet to feed perpendicular to the tuner fine (ig 21), Clamp peaisiock tothe dll press table with the dil it jd ver the fst hole. Clamp a straight plece of io he able o act as a guide fence for dsiling atk on the fence at the point where the 'to remove ‘4 in thickness of wood ace of the headstock by marking S80 te Headstock ig 23, Mark ck of the headstock leaving room for The final thickness of the peghead Use the bahd saw to remove excess: 22 iting tuner inact making H easier to cut the outlined shape 53 ee ie pea (Fg 24) the outside shop of the headstock, reniaving is Wood Fig 25, p 38). Once the outline has 23 fobove) Marking eadstoc thicess 24 fle) Cuts for heoestock thickness 37 been cul, the top and babe parts can be cut off wah a handsaw (Fig 26, 27) File and sand to refine surfaces and curves (Fi 28 29), Do not said the area Just behind the nut on the fingerboard face of the neck, Leave 9 % in margin between the back te nut and the beginning ofthe hheadsiock fedge (Fig 30) THis area wil be fished afer the ingerboard is attache 25 Tiiniming excess 27 Excess trimmed File and sana the volute on the back of neck/headstack Juneture (Fig 31, 32), The volute adds an ornamental touch and helps strengthen an otherwise vulnerable part of the instrument 2B Shaping headstock 29 Shaping around volute with osclanng | Spindle sands headstock fingerboand interface 30 Presimming around 31 Shaped hendsiock 32 Contoured vowute fgerboard. algo cated the fretboard (Fig 1), 1s @ Fength bs, reied Crrceatically, an phued to the face of the Rosewood ebony. and maple are nara, restst wear and eas Is thet hey are hard, Rosewood and ebony Ty dat) color and Took Tess solled over te. Ebony, Bis bic color and close grain, makes a great @esy to fine, and has good tonal cuales. ned the one-piece maple neck without a ingerboarc where frets are mounted dvecty into land the truss tod is Installed ror the back of the Asa \eis traditional choice, many of the harder. more W exotic woods such as wenge, eicole, goncaio {inl rocoboto are also suitable for fingerboards. Our Satis enony and conirasis nicely with the mahogany ij Henember that Wood choice affects the sound of the nt ie Appencix: Wood and Tone, p 89), ‘Noads ere available from most wood specialty Or trough a guilar supply company. Purchase wood as fiom a yeood Store or as rilled-t0'size blanks from. upplits. Specially suppliers also sell blanks alreacly es ache ‘You wil need a square, fet saw, sharp penei, and a small block of woad as @ sawing guide, Specially saws are available that exactly match the fret tang, the part of the iret which tits lito the stot (Fig 2), The most common fret shot width is 024 In Fret tangs can vary, however Repair shops sometimes use Irinner or wider fret tangs to fix a warp in a neck. Extra Sa) pressure In the fret slot forces the neck to fex back. a ‘echnigue sometimes ned to straighien oer guitar necks that dont have truss rods. Converseyy, narrower fret tangs ‘may’ allow a hack-bowed neck to straighten under string sension, Gulia tet cules and other template devices are available for plotting common scale lengths If you choose to use a nonstandard scale ergth, You can derive {ret placements smathyematically sing the sthe of eighteen, BWide the scale length by 17817 to find the distance from the nut to the 13t fret. Subtract this distance from the whole, then divide the remaining distance by 17.817 again for the next tret and for each remaining fret placement. The 12th ret (che octave above the open string) should le halfway between nut and bridge. And the Sth fet. lles haliway between the nut and ‘wefth fret Computer software ts also avollable that val figure any scale length 2 Feetsina toot Fret distance from nt — 143i 27821 40572 5.2606 5 6.3966 6 74688 54808. F 9.4360 9 10.3376 0 111886. ernie i 4esi8 12.7500 13.4656. rata 14.786 15.3803, 15.0483 16.4844 16,9904 12a6a0 17.9188 18,3443 18.7450 19.1250 19,4828 % 19-8205 27 20,1393 28 20.8402 ‘4 Sawing fret io’ with fence 29 20.7242 30 20.9922 31 21,2452 Wr a1.daa0 33 21.7094 34 21.9221 22.1230 fora 25% in scale ent ay dots Gina pestions on, {fingerboard Fret placements 40. ‘Moke sure figerboari wou ts square and riled to specification: Yin thick, 2% in wide. and 20 in long. Succes in placing tet slots ts determined by good preperation. One tedge of the fingerboard needs to be pertedly straight since fret slots wil be marked wth a square placed against it Out fautat uses.a fingerbourd that extends slightly beyond! the Heel end of the neck, alloweng placement of one etre fet to provide & high D in standard tuning. MIF ant prepare the fingerboard for tet slotting, Mark the position of the nut. The nut slot is in whe. Cut ‘long the lines that deine tive nut width {0 & depth of %e In Carefully remove the remaining wood with a small chisel ot file. Mark the placement of each fret using an accurate squane (Fig 2). The fretting meacurements provided are based er {he Fender 25 in scale feng, Practice making tet set sc1ap wood, of the same type as the fingerboard, unt you fee confident enough to kert the actual fingerboard ‘Clamp a gulce tock carefully at the fret postion, Hold the saw flat against the guide block and saw to depth (Fg 4 “The depth of each slot should be slightly deeper (approximately 025 in) than the fret tang, Orewa pene the ‘on the saw atthe desired depth asa general retorence you wish Note if you can cut tet slots using 6 table saw otra arm saw, specialty icula fretting blades designe to fk these machines are avaliable rom suppliers oF gata tok Fret sloting templates are. also sold for use hn this op ‘After sawing all the fret stots, plot the placement ofthe inlay material Dots oF mother-atpeatt or analone shell are ine usual standard and can be bought ready-made from pulat ‘supply shops in a variety of sizes, ax chown, They are clasie and by far the easiest to inlay for the novice since al hats peeded Is a matching dill bit Custom shapes can also be pirchased oF you can cut your own shapes wih a Jewelbrs sal. Consult specially books about advanced iriay procedures, ur guitar hax niediumsize motherokpearl dots, one dat each at the 3rd, Sth, 7th, 9th, USth; 17m, 19th, ay 243 i and tivo dots at the 12th and at the optional 240h Tt fit Be sure to find a drill bit that precisey accommouaies the l-ze. Exparinent frst on a scrap of fingerboard wood, ‘Don press the dot ali he way In or i may be difficult to ‘each ‘Diawa centering on the fingerboard and mark the dot ‘aeeivevits exacity bentesn the apprapelate frets. Double 10's are offset from the centeriine, often halfway between, ‘peTenIEine and eye OF the AmagEbverd Athe dept of alteyg an the cl press to accortenedate sblhickness oF tre dots. Pracees wh citing. being fae Dine up the dots perteetly We hove made a dries Aligning Inia centetag l. stina on “Jie asshow, to help to accurately guide the ding process Sup woDd fig7. 8.9) 8 w@pe tah) Smal section or ruler for : TUdt the dos in pace wlth white Or yotow ghue: epmy, on _eetng beter fet slots ‘09th gapflrws cyanoacrylate (super) glues Fg 10) af 9A spacer wniie stele ate any gaps or chips aroured the inlay. mix the glue SUCK sed to dit some tngerboard sametust fo match the color jocaoubie dass at 4 lath fret 10 ef Inlays ghuoad inploce i ly np the fingerboard to the neck and make sie ass rod sides in anid eh of WS chanel wsthout lng, This insuros its easy removal and seplacement in yeahs although tis |s untaty with dre truss ro we howen nia proper postioning while gluing the fingerboard Re neo use small gude pins fashoned from Sonenes 7 ered ofneck sumed before Or Aerio pis or tacks. Nall two ping securely Into fingerboard teattathed ck fe near each end, as shown (F812). HPO He protruding end to avout Yin, oF just enough to | tingesboarc In ptace during the gluing process. ‘even pressuré over the entire fingerboard, use ifemps and a clarmpnig block faced with cork to presins onifonmly ever envi iy area(s 12) @h uss oc to ensure t doesn't got permanently ghied give the Mmgerboard to the neck. Oreck that glue 12 Fretboard positioning tacks TR Ciuing fingerboard, foe ni th tiss you channel and create an prado block Keeps neck by taking wate thai the channel is cleared belore Siroight and pressure even, at 14 Trimming edlges of fsgervored 15 Block-sanding rough neck shape 16 Shaped jingerboara-headstock inexfuce 18 Sandbag arch into flogerboard 17 Checking fingerboard rastus infer tergt sarang tock 20 Fitting neck to body 21 Aligning neck to ridge Trim excess wood from the sides of the fingerboard iFig 14) and begin shaping and refining the neck fingertyaard combination to Its inal configuration. Keep back of neck fat by using sanding blocks (Fig. 15; ‘Do nat sand too much in the mice Rounding the ends of the sanding blocks wil help keep the neck fot all the way to the ends. Cardboard or paper templates of the prefered Heck cass sections wil help monitor your progress. Segin final sanding around the headstock (Fi 16) ‘The fingerbaarel now needs arching. Quis has an are with 3 12 n fadiis: Make a radius gauge with a compass, OF purchase one, available in various radi rom guitar supply dealers (Fig 17) (See Fingerboard arch p 17) pce acesie-nack sandpaper on a fat look an bes sareding fig 1) fo arch the Nngerbourd, as shown, Check progres wih a rads gauge: Use along sal ide ag The erty of the thgerboatd to Keep & perfect at Stat wer 80 gt sandpaper ard as you reach he fal shape se progressively (ies Grater ol earcoasl Akertetvey sel simple ig wht a fads Sanding block that has ba BT | rrccined tothe pres feds, avalebe om pl 18 Radused ending beck win. aabe volenee fom ginerone mounted parallel to the Centerne of the thygrbootd keeps tle sanding Bock rm wandering and accent rourdng the ose edgs oft thygerboata oo much, as shown 9) Cive final shape to the back of the neck: Use a contour template to help get the rent curvature, but a good eye and feel are the best gauges iy other gullars to geta sense of the range of neck shapes (sae Neck Shape, p 17). Careful the neck tothe body, Use sanding block for neck sides and points where f Contacts the neck pocket (Fig 21) Use a tong straightedge 9) check the allgnmient between neck and body, Place the straightedge along the trajectory of an outside string, jst from the side of the fingetboard. Line this up wit the outside bridge saddle (Fig 21), Repeat this process with the father outsice string. Sand the neck at the heel area until the ‘hWo outside strings are equidistant from the edges af the fingerboard! “St fingerboard to 400 grt sendpaper (aking care to not “wet he ach or round the edges ofthe Aigerboara, Posh ith fine stee! wool before te frets are Installed, ita ypes. Varies In width and height. Electric gullars basses use a vaviety of sizes depending ost players fens Many modem guitarists prefer 4 larger jumbo Foy easies string bending and a tuller tore, Our ices 2 medium fretire tradivionally used in Fender aid sig fine langue Me, carenuly dul the sharp. eciges of re Sc uh afew tight strokes acioss the Angerboard his eases fot entry, allows fret to seal propeity, and heips Shipping ner wor) ets are remaved for cement. Fretwire fs covered with a residue of machine ‘vag he eoataciuring process. The se mast Ye wiped clear, Use naphitia in a we area fs onger than the sength of the lot ngovoond, as shown fig 22), Pee-curve tet to the rads ofthe fingerboard by bending them bby hand or use a special device, before they are Hilo shorter pleces, Take care not 40 twist the: le Carefully seat the ends of each fret in the sot gets by harnmering into the siots with a aiiiber ot hanes blows. Use a smal ‘or Plastic faced deac-blow hammer. Practice HiAstTap Of word! before atlempting to install frets on etal gerboara “An alerative to hammering frets i-a system of ftels into thelr slots Commercial varieties of a pes che attachments for cil presses, stand machines, and vise-grip syster. All oF nese ul Over Khe process home-made fret press is shown at right Carve hun small ooppoil ends of an 8 in Jong oe, as sho Hi ston one plece over the set to press Ii, enter the rove! the rgerboard Keeping the dees parti! ta the This keop the fret torn fang over and sows aretha erat oF the fet as boing 23 Fre press. This ones made wit mitted piienolc Blocks. Coser se presses re, far side ‘eth fel vides on fingerboord 24 left Pressing frets 25 jabove) Underside ofreck must be Supported directly below the fret. Here thir mople wedges cre use, for sy ‘helghtadustrnent. Jorgensen carn alves best contro pressed into place, as shown (ig 24) Use a Jorgensen clamp centered over the fret to exert more Cantrol over the distiibutlon of pressure, Support the neck directly henesth the clariping port (Fig 25), Match fret slots to iret tang size 80 they wall press in easly Be careful that the fret doesr't lear to one side as its beng. pressed in, Do not Over press. Clamps can exert a powerful Amount of pressure and accidently indent the frec into the fingerboard 43 26 Bevelng jetends aan pi 27 Leveling frets 26 (ight) Checking frets whh sraigitecge 29 dbelow ff} Leveled fel. taped off forrecewning egre ofr Dptins oun rete 4 30 ihetowr right) Recrowning fret wee ie Fret leveling an fing 1s crucial to the playapifty of your Instrument. Clip frets as flush to the sides of the tingerboard as possiole, being very carettil otto chip the tagerboers Use special chppers with a fat face io clip Installed frets Cp frets from sides to avoid crushing the fel tang. Soueeze the Clipper handles eventy taking care not to pull the fret to one SIC@ oF the ober Carefully file fret ends with a large mil ie to being them ‘hush jo the ses of the fingerhoard, shown in diagram De not loosen frets, Bevel fret ends with a mil le, (Fig. 26) ‘Choose cegree of angle shown if) drawing below. Less ange leaves more piaying area on the fret top; increased angle i more comfortable when siding the playing hart to and «dowry the neck, Be aware where the outside strings Ine up 50 the strings aren't inadverierily pulled off the ends ofthe frets while playing. ‘Adkust the truss vod if necessary ti the tops ofthe frets are level Level he tops of the fots. Use a iret insetboad ‘eveley made from a fine sord paper: covered fat length of wood of metal (Vou may also use-a tong, perfectly ft smi she oF » spect fet fej Cover should be longer than the fretboard io level al the frets simultaneous. Holding fy as shown in Fg 27 prevents bending the neck while sanding as may happen when itis held on a bench. Check offen wih a straightedge as you fle so as nol fatten them too much (ig 28), Place drafting tape (making tape leave a residue) on each side of every tet (rarrower a {ae is helpful for upper iret), Frets must be rerounded ivhiete they have beer flled at {Fig 29). Use a specially Crowning file available tiom gultar suppy cenlers 3) shat matches curvature Of chosen frets. Damond git les ‘though expensive, are best, Fle ust until the tat area lef the leveling file disappears. Over-ling wil lowe the fet etation f0 the oles. ‘The ends of each ite ate furtner dressed whi a sanding sich Gee draving. at lef) or a speciaty tangle fe with thee ‘gfound fal: Remove al sharp edges. Side your hand along the kes of the neck fo ind any shay ends. Take case nok to damage the fingerboard, Burnish frets with a tight sanding with 600 grit salidpaper ancl a final bulling wilt fine steed woot Smal inlay motherorpean dots along the side of the fingerboard act as references to bolp tne player find finger afd chord positions, Thetr placements are’ Identical to the Inlays on the face of the fingerboarc. Find ie exact center vertically and hosizontally between the Specfed frets, Make a slg Incemtanion with the avi to Hiip postion te drill bit and keep it from wandering, Reinerciber that the double ot at the 12th fiet fs also. hubied on the side, ‘ll the oles with the appropriate-size dril bi. A brad point Gill bt wil center more easily on the nick made by the avt {F531}, Ghue dos in lace using a cyanoacrylate ar white ‘ple. Let dry and sand smooth wilh fine sandpaper (Fg 221, any major adjustrnent is necessary. 1Lis best to find out at ‘ne aeserably shag an corres i rather shan iater wren “gdsiments may compound dlftcuties, Begin to NH the ‘omponenis togetner Pace the neck into the neck pocket and recheck is tignment ‘0 he boxy centerline, Holding neck firmly, pustt 27% In cl bit rough the Heck screw Noles inthe body A tis! by hand to make shallow pilot oles into the neck. Bemove the neck from the Douy ana with a dil prass usinas ‘ain bit (ig. 1), deepen eaet pilot hole 10 % sy (he sept abstic he neck and fingerboard join). Use tne depth plug on the dil press to keep trorn dling too fat Putthe ferrules for the neck screws into the body anc! PRE Lhe sews imho them. Some sores wi Need Shortening since the back of the rieck pocket was canted, “Meesure every screw Carefully api cus sem 10 a tensth (6 short oF the neck/tingeroard joint (Fig 2, 3), The “shows should stop short of the tull dept Of plot holes bo Noid cracking the fingeboara, 27 Driting jorsige ‘es 32Siae ‘lays in proce 1 ile) Deiting hotes for ec mounting scien 2 (lower let) Neck serews in Place unrmmeed 3 (lower righ) Trimmed neck 4 Atteteming eck 46 Place the neck into the neck pocket and screw the neck t9 the body (Fig 4), Since the screws are different lengis, make sure to pit them Into their correct holes, Ps secre Put the tuning mechanisms inte thelr holes and sectire then by handt-tightening the nuts, Mark and pre-dill the holes for the set screws. Put the set screws into place and fully tighten the nuts (Fig 5), ‘Nuts may be made from bone (traditionally). brass. plastic, or ‘a jumber of speciaity materials (4g 6) available trom guitar parts suppliers, Ours \s made Yorn graphite, Choose a graphite compound that minimizes frctlon, improving tuning, stabimty, Carve the nut material to fit the stot, aching the top to ‘match the curvature of the ‘ingerhoard. Leave a height of about /» in to Ya'n above the height of the frst fet Install the two outside strings and use them to place the positions of the outskle nut stots, making sure that the strings.are at the desired. distance trom the ends of the frets, Fle the slots with the appropriate nt files just deep enough to hold the strings in place Carotully measure the positions of the remaining strings Some players piefer stings that are placed equally between their centerlines, wie others align them wah equal spaces between strings, resulting in bass strings that are spaced sgny wider than the tebe stings. Mark them oy scratching a fine on the nut, ether site of each string, with a sharp hobby knife. Fle the temalning sits leaving the Sings a tle nigh over the first fet. The nut slots wil be filed to thei final depth in the setup section. Sting up the ultar, and hear is st notes (Fig 7). Place the pickups onto the face of the body by using the pickup tings to determine thelr exact location, centered and square to the bridge (ig 6), Mark the ‘point for each screw, being careful to keep thei square (its easy to misalign the pickup ring), Pre-dril oles for the ——— mounting screws, Attach pickup rings to the pickups wth the. appropriate screws and springs (Fig 9) and fit each into thelr ‘spective cavities. feeding thelr wlres through the holes you | iled nto the electronics compartment, Screw pickup | sssumblles (0 the body, as shown (Fig 10) Cutan 8 in length of wire and strip one in of insulation off | one end. Feed the unstripped end into the hole beneath the bridye and pull it through at the electronics compartment Uni ust the stripped section Is protruding front the hole at the bedge (Fig 11}. Serew the bridge to the bady, clamping the sinlpped wire to the body. This wire connects the bridge (othe ground, and Is necessary to avoid hum tig 12) J Yow may fuly wire the electronics: now (ew Appencix: Hecronics p 71), although they wil be removed for the {nbhing process. Conversely, you may temporerily connect the pickup leads to the output jack with test leads, in order {a hear the guitar forthe fist me, Fishing is the next step. Refer to p 48, Use the routing template, p 30, and trace the shape ol the electronics ‘compartment cover on a sheet of Plastic oF wood {Fg 13) Rough-cut the | shape on the band saw and trim to fit with a sanding block. Mark the spots atound the electronics compartment where the cover screivs Will be locatea (Fg 14), with the cover in place, dil the serew holes through the cover and into the body. CCountersink the holes in the cover and widen If necessary, as shown (Fig 13) | Shield the back of the cover with oper shielding tape and serew in ace, as shown (Fig 16, 13 upper right) Mrking compartment door ouline 14 stdterght) Screw positions marked Jor aibing 15 [botiom right) Courtersinking serew roles ~ IL ‘9 Pickups mounted in rings $ 10 ght) Attaching pickups inhody PT bridge with grounding wire 12 Electronics compartment! with pickup grounding wives 20 elaborate as. yan wish. Every instrument ‘maicer has thelr own favorite finishing procluels ent procedures developed through research and experience Taditonally,luthie!s spend as muct time on the finishing stages of the instrument as on the actual making. Now as always, he ‘nish will determine the final quality of the instrument, ‘There are several basic finishing steps that Instrument makers follow: sanding and wood preparation, tinting or staining the ‘wood, fing pores with grain filer for a periactiy smooth surface, sealing the wood against moisture. and applying topcoais: Makers vary this process (or special finishing effects 48 Finishes such as shellac, sanding seater, and olf are designed 10 penetrate into the wood and harden to seal and protect tive wood: Lacquer, varnishes, and wax are topcoat external Ghishes that provide more protection and a lusttous fook Rnisties are applied through brushing, padding. or spraying depending on the product used and the fishers resource and experience. Depending on the outcome desited, the application of different products and the sequence of treatments may vary. We have red lo take a sitaightforwara approach by employing readily available, easy-to-use products and snlaimizing the number of steps involved. For further options see Fihishiing Options, p 92 Prepare for finishing by disassembling the gultar and Sanding and sraothing the wood (Fig 1), removing all Scraiches and citer Dlerishes. Quartersiieet, palm sanders telp shorten werk time and can leave a very good surface. lease use judiciously or they may create mare Iinpertections than they remove. Sand carefully around Pickup cavities and edges (Fig 2.3). Sending involves Fapeated effort, each time using a finer gracle of sandpaper. ‘Serapers may hefp with ceitain kinds of wood but require a bit of practice to be effective Surfaces made up of diferent woods will sand at diferent rates, Softer woods laminated to harder woods tend to dish Dit Avoid this by using sanding blocks Sandpaper wrapped eround (or adhered! t0) a hibber drafting eraser leaves fewer scratches than-a wood sanding block Sand the Instrument with 120 grit sarapaper to temove all ghte smudges, level uneven surfaces. and stmooth the surface of the ‘wood, Sand again with 220 grt sandpaper to further smeoth the surface. Sand the end Brain. Your fingers can tell when the wood Is beginning to be polished (Ng 4). Use tiner grades of sandpaper for additional treatment ‘2 Sanding around edges with 3 Sanding curves in upper horn Sand headstock (Fig 5). and touch up the fiagerboad, Sandpaper strelched between prigers necessary, Wipe the wood with a dampened etath, let it ry, and resand unt smooth though this makes more work. i adually saves sanding time in subsequent steps Alleft) Sanding emd-grain inside of torn ‘Sright) Sancing heoastock \ ; mixed with shellac, vamish, oF lacquer produce a more transparent took. The application of wood stain Is optional, 5 used to color and stain scrape of wood of the sane type as your instrument to enhance the natural grain of the wood or create a visual elfect test color. Stains neatly impossible to remove. Rubbing, (popular sunburst finish). Stains can be applied on bare wooo surface: willy humber 9000 stex! woo! wil only éehien ane before the seating coat or mixed with the sealer. For maximum highlight the finish, effect stains are usualy applet before a sealing; spa, ‘Out guikar is not stained: The shellac and vartish used tater i Stains come in concentrated tiquid and powder forms. They ‘uit process wil Heepen the inherent color of the wood snd are mixed with water er alcoho! for different shades. Stains lve the svood a natural iaok 49 Seallig agenis protect the wood against motsure and rake subsequent coats of finishes take rote effectively. Lacquer sanding sealey, shellac. of a are most commonly used for sealing wood (hig 6). Sains may Ne suspended in sealing oats (make sure that the products are compatiole ‘Our guttar is sealed with shellac. tis @ product of nature, sticks 10. most anything. has altractively subtle coloring properlles, and dries fast and hard, Purchase shellac in liquid or flake forn and thin iewith ‘ enalures alent, Sealer can be appled through brushing. spraying, or Frenci-polishing. Ywe applied # wash cast 0! shellac, reduced consistency (2 1b. thinned). Suibsequeni coats may aso De slighty thinned for easier application. Apply shellac evenly ark quickly with as tew strokes as possible (Fig 71 Let diy and sand smooth with | 400 ert sandpaper Sealing agents and topcosts donot tthe pores O¢ open- grained woods. Use special grain filer compounds to produce 1] St beat seioun woos sta. ates of woods si roseiveod, mahogany, 0d ash genetaly need ing Donporous woeels such as maple alder, and ebony do nak Some brankl of wrafler have sealing agenis and tints alkeady miked in them and may be appled in lew of seating } ‘coat and stain. Follow the manufacturer's directions. More: | than one trealtrent may be necessary. ince we have sealed 7 Aoplving fist scr coat she wond beforehand with a coat of shel, gran fir proceeds more etc Work the giain fier wll Info the woos pores ant tet dry overnight. Sand the wood and repeat ths process if necessary, Apply a tindk sealing coat of hela vo fuly Prepare wood! forthe topcoats Sand with 400 gut | sandpaper to pertéct emoothness ages The get ith century viotn makers used okbased \amishes exclusively. They provide a hard protective finish ‘and heautiful faster. Although stil available ftom luthier supply companies, they are seldom used rosa because of thelr exbemely tong drying time. ‘We tse a high quailty splricbaseu commeretal varnish for oli fopenals It easy to use and realy 49 apply, and provides good protection from the elements. Spintsoased varnishes tse Dust the Instrument well with @ tack cloth or soft clean rag paint thinner, mineral spirts, ar tarpentine as a base. They are anid find @ dustfree environment to apply protective topcoats; alten cesgrated as interior or lumiture-grade varnishes. They ‘amish has heen a traditional finish for instruments for many come fn high-gloss, sembioss, dul-tub matte, and fat hater coats, shading, sunbulsting. and toning. Consult speciaky books for this lascinaling aspect of gultar making, ! Now consider special coloring treatments such as salld cotor 50 Some manufacturers suggest gloss coats for the foundation layers for tronsparency, with o final ratte Coat Or two for visual wars. Poly varnishes can also be sed, They are €nsy 10 apply, durable. and with sorne polishing produce a nice fish Eeo-Hiendly, water based vamishes are also easy to use and have the advantage of drying quickly and providing an easy care surface. Aways flaw the dliectons Suggested by the manufactures sé a high quality brush, I leaned up propery tshovtd last for a number of sessions. Plan the procedure you wil use 10 apply the topcoats ant how you wil harg the instrument up ‘or drying, Depending on the brand of vamish you use, the fist coat ot ‘iyo may be slighty thinned with mineral spiris. Each successive coat should be slightly heavier. Never apply the finish so thick that it wat drip or curtain bere It has a chance to setup and dry. Apply dues or four coets, Let dry between coats. Lightly san cut imperfections hetween coats, Afier each coal, rub the surface with 400 wi Sandpaper. Be ‘eit! not ta sand through previous couts. Sometimes wet- andedty sandpaper is used in conjunction with water or oll as 2 lubricant for more.conro} during sanding, Dust weil betwee, each coat ‘Aller the last coat of finish has been applied wy the surface Jghtly with a fine 000 oF 0000 sieet wool and buf wht a sort doth to add luster anc highlight the finish. OF use a patishing ‘agent (or 3 higher gloss. Traditionelly, choose purrice or roten stone. hand-rubbed with oi oF water as a lubricant Buifing wheels with polishing compound are another aption Use oll designed for wood (Fig 8) Specialty als dry harder than furnilute ells, Fingerboards are never varnished or Jacqueied, except for mapie fingerboard that soil more easily than darker woods, Follow the manufaclurer’s directions, l a i 4 Finally a paste or iquld wax (earmuba wax good can be pled 10 gWve protection against exrernes in humidity anc reve extra sheen to the oor (Fig 9 ‘90ur guitor's hana 7ubbea 10 ‘atigh gloss. A wore cout protects against humdi ‘cnunges Nedcthvoustbody bass wood parts pleded Yew Many procedures for making a ass guitar (fig 1) p 52) are sinilar to thase used in building the sixstring gultar. The primary difference in our example is thal Wve fave used the nnedktheough-hodly design for the hass instead of the two: piece balt-on design featured for the guitar. This means that the neck extends through the body and, in fact, becomes the central component of the body (see above drewing), The remainder of the body Is then built onto the neck. This style Gifers tonal acvantages and interesting visual options, but Fequités a good arrount of Sawing and milling usually done ‘with a band saw and jointer We also use a larninated ‘construction for the neck fo provide move rigidity and visual ‘contrast by using maple and ziricate for the nedk, and sapele fa species of mahogany) for the remainder of the body. Prepare by reading Design Considerations and Preparation ip 13) and the Hectronies (p 71) and Wood and Tone [p 89) sections in the Apperidix Procure all the necessary electronic parts and other harcware at this time so that your design wil accommodate the actual components you will use (Fg 2) i Daw an actual-size pattern (Fig 3) (sve Master Patterns Drawing Bass Pattern, p64) or carefully measure an actual bass and make the modifications you wish, We use a laminate constniction for the neck Determine the \widtns of the varlous laminate components, Color and grain 1 fopposite page) Finished bass 3 Drowing bass potters 4 Gating maple neck ‘aminates contrast between adjoining, laminates is @-visualy desirable effect. Make a tst of the wood measurements for the number and wicths af faminates and for the booy ‘wings, fingerboard, and headstock faceplate (it used, Resaw, joint and plane the thickness of each neck piece 40 specication, Roughcut the basic shape of each piece (Fig 4 5). A vertical grain configuration of dhe two maple pieces eds 10 the necks stabilty. Level all gluing surfaces on the 5 Cutting 2icote center fanuinate and body \aminates 6 fight) Jointing ‘maple farinates 7 fleck larcinates 7 left Locating truss rod postion 72 sbowom let) Rearing truss rod chonnel BB bottom right) Tass roa ia lace Wend place for Efetenviving poston of access hole Jolnter Fig 6) When a plece isto be plued on tivo idea make sure (o Keep surfaces paralles. Pleces thar wl pi In mirror image the maple neck pieces) should be kept the same width for visual continuity (ig 2). Glue all neck components together (Fig 8), one pete ata time Clamp. Alter the basic neck is assembied, trim the of the neck lo a thickness ef 1 In. Joint of sand the pack face until tis perfectly Jevel, Rough plane the headstock its assigned angle at this point, (Fig 9) or walt und afer slot for the truss rod has been routed. The advankage waiting is that a completely flat neck makes a better platform for touting the siot at the headstock end, The ff the neck will be cut after the truss rod slat has been routed Based on the masier pattern, draw the posttan of the nl outline the neck taper, mark the positon of te 12 et lend of the fingerboard, the bridge, and the termination ef the body ene of the neck (Fig 10) 8 forte Gi neck amin mie headockfor yocenote ro win) Aeyout on ek Study the tall drawing of the neek/headstock/nut ss Tod conjunction Gee Appendix, Master Drawings p65) the placement points of each clement ofthe actual tus (on the face of the neck (Fig 11), The router is guided bya fence that rides aganst the side ofthe neck bank, 30 be sure that th is straight ape parallel to the neck cenierine Patiently rout the truss fod channet by making Several passes with the router, increasing the depth each time Fg ») Note In-the procedure for routing tue guitar tuss rod channel {deserived on p 36), we pre-carved the neck tit relieve tension in the wood then w-leveled the surface before routiag the truss rod chanel. This s nox necessany for this bass, because the vertically oriented grain ki the neck laminates do not flex when the neck is carved Saw and plane headstock to specification. Final arrangemel Of truss tod and headstock are shown in Fig 13. Prepare a eatistock faceplate from 'é in thiek ebony wood. Transier measurements to the faceplate to define the natch that ‘accommodates the end of the truss rod and the acess hole othe 1russ rod adjuster (Fg 14). Make any mooifications | necessary so the various components fit together properly | | ' 14 Headstock Joceplate, notched for ‘uss fod block ond dilied for adustnnert Glue the faceplate to the headstock (hp, 15) ‘wrench Thim the back of headstock to-a thickness to accommodate the tuning mechanisms (our teasurement is %« i) Remember fo feave wood for & volute. Draw the headstock shape en the back of the headstock and cut dt the basic outline or the band saw (Fig 16) ane ang Fle We aut ene of the faceplate evel with the | ingerboarel insert the tus rode insure that everything its Gig 7) Cut out the outro the neck leaving in entra on either side Wig 18). On the headstock, carefully locate the placement of tuner Holes, Drill the Holes ona dell press. A. plece of wood! pressed firmly to the underside of the headstock wil 15 jabeve) Gling eaastack minimize chipping as the sll bit emeiges (Fig 19) foceplore Begin contouring the back of the neck with a spokeshave, 16 (ight) Bandsawing headstock © taps, anc files puting fg 20) The thice neck cross Sections drawn on p 15 show ihe basic syles leave the neck Hite oversize unt the | fingerboard is sued on. Make 3 simple {7 Reacstock facepite 18 Neck trimmed just wide 0} 19 Furerhokes died template. as shown, immed to neck sufoce jaa width tohelp gauge the shape lightly oversize atihis stage) Fig The shape of the heel (area where the neck meets the boay) is fdleumines by tne joint behwaery tne 20 Rough-carving neck with spokeshnove, 24 Templalefor neck carving {uiside portions of AEE the body and the nerk. This area will he mors carefully 25 ane na Revenieg ‘cantoured later, Bu remove as much matertal as possible: ile the body shes are unatached (Fig 22, 23), 23 thottom right Staping heel whh drum sander 24 Thimming boy portion of 25 Measuring for neck angle neck piece for neck angle Unita figerbeara and brkge in g place Fre stance fom 99594 11.3077, T5815 13.7835 14.0181 1 17.0000 179547 ie 188547 is 19.7088 w 20.5071 i 15.9897 212604 21.9792 22.6539 723.2907, 23.8917 2aasn 249946 25.5000 25.9771 20.4274 26.8524 27.2536 27.6322, 27.9806 28.3269 2 206453 28.9459 29.4973, 29.7500 I bs__29.2z95 Fret locations for 34 nscale length 56 Ny i Hil. 2? Fingerboard rounded ai body before tut ‘Me body must be dectined slighty to tne plane of the ‘neck to produce the comrect sting height atthe oridge Determine the height that is required ané draw lines on the side of the body section of tne neck assembly Establish the amount the body section of the neck 5 10 be trimmed to achieve the conect neck/body angie (see ‘Apperx: Master Drawing. p 65), Hand saw the excess Wood rom the top and back of the neck assembly (Fig 24), Sand these surfaces flat with 2 sanding block. Test for proper angle by putting the bridge and fingeroart in place Adjust the bridge saddles to the middle of thelr height range. Rest a Jong straighiedge on the bridge sale and hot it above the fingerboard along the same tne as a sing (Fig 25). The straightedge should be atthe helght at which a String, would normally rest above a fetted fingerboard shown in drawing below. ody Nec Ame Cts ‘The construction of the bass fingerboard Is the same as far the six string guia, see p 39. you preter, purchase a slotied fingerboard fort a guitar supply company. We use rosewood Yor Our buss guitar fingerboard) Scale Fength for a standard bass is 34 In. Place fret slots [measurements shown at left, and inlay fingerboard dots, Fig 26), THim sides of fingerboard close to the final taper of the ‘neck. Round the bedy end of the flagerboard anid cut it to final width in the area where it overlaps the body (Fig 27) Testit the fingerboard with the truss rod in place to insure proper alignment, Re-check fingetboard surface of the neck with a straightedge, and relevel with a sanding block tf ‘necessary. Make sure the truss rod is funclioning properly before Installing it We do not gum Into the neck. Make any agjusiments necessary to make It 8. the channel is longer than necessaty at the body end, ft ihe gap-aath a shim so the truss red doosn' slide toward the body as ite being. agjusted later. Put the thuss 10d in place and prepareto glue the fingerboard on tep, Instal two small push pins or pins fasbloned (rom brads into the peck to help secure the fingeroard and keep it from slipping during the gluing process iFig 26) Prepare several clamps and gue ‘he fingerboard to the neck Using @ padded Bleck to Insure even pressure ator the full span of the neck (Fg 29), Using this block wil also insure that the neck remains straight as the give dries. Thm excess ‘wood trom the sides of the fingerboard and begin shaping the final form of the neck (Fig 30), Arch the fingerboard (we used a 12 in rodius), F you purchase a pre-arched fingerboard, cheek the orch to make Sule the fingerboari is perfectly fovel along its length, Sand to.a high luster, see p-42, 43, Fretwire for basses Is slightly higher and wider than is six- string guitar tretwire since wound bass stings wear frets tastes, Nartow trels produce bette! Intonation and are usually preterted for recording studlo work. Try out verlous bass guitars to determine the feel you prefer Purchase frebwire Of Your choice. See p 40 for frtling process. IM the wood for body to a thickness to mate the neck. ‘Transfer the pattern to the wood, Piace the hardware on the ody blank and deterenine the location af the piekups and electronics compartment ifig 31, 32}, 29 Gluing on the prgerboaia 30 Lest chanceto shape hheel arid neck before body ‘wings aren the way ling Fr Rough-cut the basic shapes of the two wings (Fig 33) Leave flat ateas on the sides of the wings to ald in clamping them to the neck The flat areas should be directly opposite each otter so that the clamps are at right angies to te Joint (ee drawing) to prevent slippage when glued Fig 36, p 58), Before giulig the wings to the body, roit.a channel in the jointed face of the bebe (lower site) wing (Fix 34, 35) 10 ‘earty the wires from the neck pickup to the electronics camipartment (see Master Drawing, p 64), Rowing sew will +33 and sawing body sides save dificult driting late Jxwing flat spok jor clamping ‘Glue extra laminate 34 (eft)Rowting wiring ehannes 35 igh Wiring channel Cutting body sides for peypendicuia clamp ‘alignment 57 pieces (as we have done} between body and wings to the ‘wings. ‘vim them to the body thickness. Cut body wings fo their inal shape before gluing them to the neck, Leave a little extra wood at each end af the Jorts {oy better contact at these points. Save the cut pleces to use as clamping cauls when gluing, Glue the wings to the boul, one ata time, keeping bie clamps straight. We se pins 2s in the neck/lingerboard jcint. The alignment of these farts is Important because discrepancies are dificult to correct, ‘When both sicies aro fully dry (Fi 37), trim the body around the ends af the joints to the final shape (Fig 38), Carve the ‘areas Of the body that intersect the hee! (Fig 39) 37 Body wings glued in pace tay aut and position the eleetionic components on the face of the instrument in preparetion for routing the pickup cavities nid the electonies compartment. you choose a aiftevent arrangement for the controls, adjust your electronies ompariment shape according. Avoid patting 2 Poterniometer tbo close to the oulpa jack, where the tp of the core. plug wll contact the pet housing. Place knobs for ‘secesibilty and visual balance. Carefully position and-mark ‘ie bridge placement (Fig 40) -40Postioning knobs on body Follow instructions on p89 for making the rouling template. This 16 actally for the compartment cover. not ths main part of the cavity, The main cavily may be routed by hand or ‘wath a template eat to its outing Dil the holes for the control knobs (Fg 41) to prepare for Toutiig electronics campariment on back of body. The stem holes wil holp act as a guide for rutng:the compartment to 41 Bilin toes 42 Routed elecronies the appropriate leptn, Or out the bulk of the wood with Jorevecionic compartment arnt door —_Forstner cil bit before routing, Finish the mein cavity with the components recess router, then rout the cover recess with the template (Fig 42) 58 Prepare a routing template for the pickup cavities (below) he template (ee drawing) will do two cavitics (Fig 43). Carefully clamp the template Into place making sure to renter it en the body laminates. Rout the cavities in several passes unl the appropriale dept is reached (Fig 44). The pickup holes shouid intersect with the channel routed earlier inthe treble body wing (Fig 4, Unless the wiring channel already intersects with the tlectronics compartment, dil @ hole betveren the two (Fig 46, Dia hole connecting the electronics compartment andthe boty face just below the bridge fuse 2 12 in long. Yin i, far the grounding wire Fig 47) Rout the body roundavers (Fig. 48) described on p 28, Bevel the top of the body atthe arm postion unt i fees comfortable, Carve the body contour with a spokeshave or | Grawknife Finish with the eraser sanding block Fig 49) | These contours may be refined when the instrument is tes strung, | | = lexira care to support the neck when pressing lh the frei, especially near the hody end of the fingerhoard, | Level ara et the neck, as dserbed on p35, 80, Take some 43 Pickup carelies ane routing tempiaie +44 Routing pickup cavides 45 Pictup caves and wiring, 46 Connecting whinge ‘channel ‘channel and electrons comperimint 47 Dealing hole for grourding wie 448 Rounding body edges ‘49 Carving body contour with a spokeshanve 50 Sande heel and iexty contour 5) Block sending neck shape 52 Seupsiing around base of fngerboune 50,iling nut stots 57 Stop bution an tern 60 Finis all basic sanding and contouring (Fg 50) Make a simple sanding jig from a perfeetty sat length of wood with sandpaper glued to the edge for sancing and leveling the back of the neck (Fig 91). Sard carefully anywhere the different laminates join each other. Sand a gradual slope between the body surface and the neck /tingerboard junction (Fig Before finishing, assemble and string the bass to play and ear. Make any final adjustments to the neck and body contouring, Attach the pickups, bridge, (Fig $3, 54), and tuners. Cut a nul {see p 46). String Wt up and fake preliminary nut slots (Fig 56) Tune to pilch. Tension the tiss rod as necessary, {lip the pickup wines oa test lead! to hear the amplified tone. Finishing is dane row, see p 92. String the instrument and adjust the thiss rod as described Coty p 48, Setup: Set the string height at the briage for the: desired action. ‘Adjust nut slots to their final depths. ‘Adjust the brielge saddles for comect intonetion Set the neight of the pickups, usually 4 in to ein below the stings. Install the strap buttons on the end ‘oF the horn and on. the centerpoint at the end of the body (Fig 57. 58 See finished! bass, p 52 58 Inston strap buiton Master Drawings Neale Pickup Routing Templates ‘Actua size nT bs ih 8 aa ‘The electric guitar and! electric bass are two of the most important end prominent instruments in music today. While the tuning art range of these electric isitumeniis are the ‘same as thelr acoustic cousins, the styles and techniques used In playing them are oiten quiee different, This section offers some of the basic and most popular elecirc guitar ane bass playing techniques and provides a foundation that can be used with other gultar study methods currently available In book ot video form. GETTING STARTED ‘Most electric pula anet sone efectric bass players use a pleetrum, oF pick, to strive the strings, A comfortabte, secure Tight hand wip and relaxed postion wil elp the besinner 4 become familar With the plc ut eventual becomes almest part of the hate. The index frger of the picking hand should be curled inal denched) sn that the thumb can be placed roughly pptalel to the tip of the index finger Pace the pick between the thumb ard index finger, with the point of the pick ai a right angle to the thumb Gee phaiograph). Keep the hand relaxed, and use approximately % in ofthe pick as the sivihing surface (shighily more for base). Pick contol is crucial Begin with a downstroke Immediately {ollowed by an upstroke on the Jow € string. Move through the six sirings (four sinings for the bass, playing a downstroke and an upstioke on each. Keep a steady beat and allow each stroke 6 hg out wih equal volume arid clarity. This down: up style of picking is the core technique of most Slectc pultar styles, BASIC CHORDS, SCALES AND TECHNIQUES Chord positions on the fetboard are mary and varied. The standard format jor learning these positions fs the chord box, he Electric Guita and Bass on a graphic representation of the fingerboard that indicates the: Jocation of the fingers for @ given chord. This box is assurmed to represent the frst three or four frets of the gultar, uniess a frel number Is given alongside the box. (Fig. 1) lustrates the use of the chord bex and gives many of the basic chord shapes that every- guitarist must memorize The fingers of the let hand wie numbered 1 10 4, beginning swith the inde singor The #higers of the left hand should regneit rounded $0 that the tp of each Anger comes straight down on the desired note. Most of the chords for all electric guitar playing are variavons on or extensions of these chars. Often itis necessary for one tinger of the left hand to press. {lown two oF more strings (a barre or bar position) wlth the flat pad of the finger rather thar the tp (Fg 1, Fand A hors}, Acontolled, firm grip produces the desired nates and larly, Reginning players often tend to clench down too hard ‘on the fingerboard instead of relaxing the fingers ane focusing on accurate placement. This (is only the first of mary Jeft hand techniques thet requice a light touch backed by: Strength and control Chotds and melodies are but from scales, The first scales lear use many open -——w3——— fantretee stings. Fig 2) presents the c Major scale, fkst in a chord box and then in tablature. To read the scale in the etiord box, first play tho note thal appears in the farthost leit position (the 3rd tret of the A sting). This b C, the fast aote of the C scale. Next, play the notes indicated on the next sting to the right starting with the open note, 8. andi then E and F al the 2nd and Src frets, Continue with the next open string, G.and the A al the 2né fret. Conclude with the open siriag & ‘afd the € at the first fret. When played correctly, you will hear the familiar sound of the major Scale (do, re. mI. fa, $0, at, do). Practice this (and all) scales ascending and descending, tusing alternating down and up siyDkes or eve pick. Always place your fingertips just behind the fret that Is sounding the note. Tablature Is also a graphic depiction of the Angetbosrd, showing, the-six or four) strings and Indicating which fret of which string will preduce the desired note. Read from felt 10 “ght, tablature alse Indicates motion through time something the chord box (5 not designed to do. The numbers on the lines do not indicate which finger to use, only which fet and string to play. Fingering: may be indicated above or below the note. The tablature for the © Major scale starts wht the 31d fret af the A string, Indicated by 2 small 3 on the 2nd line, and proceeds up the scale. Read throug} it and compare: what you ear with the scale you produceet fram the chord ‘box they should sound the same. The G Major scale is shown in Fig 3), once again in a chore hox andl in tablature. Every musician ‘will Deneatt from ieayning, to read musk. from the — standlaid Stat Fie Te 6 ier Scam tao Octave ‘Asa practical matter, most guitarists who play popular siyies an the clade guitar rarely need this ski unless they are Involved tn studlo, Composition. oF theatrical performance siyations. AL the very least. you wil need fo know the names of the notes at many locations on the fingerboard The language of musie car: be teained without knowing how to read the staff but learning to od music is recommended as it opens many doors and faciitates the study of music theory PLAYING RHYTHM GUITAR Playing. rhythm chotds on the electlc guitar requires the tse bf barre chords ip and Gown the entire fingerboard. Much ar be done with usta Yese positions; ths section focuses an twa groups of femmes of chords, & ana &. These chords are fessenialy the same shapes as tye F (major and minor) and A Invajor and minor) crords given in Fg 1, ThroURh the use of a shifting barre poskion, every majer or minor chord can be found using these shapes. Batre Chords and Embellishments, Progressions For a G# major chord Suppose you are leerning & song that calls or a Ge major thord. You know trom the G scale (Fig 3) that the 3rd fret of the fon siting isthe note G, and you know trom your general study of music that a shaip (#) Indicates ralsing a Hes by ore fret (or halfstep. The lowest Ge note, therefore, aN be found at the 4th fret of the low E string. Because the bs ticte of the cord i on the € string. you math it o.an & ‘major shape, with the fst finger bering the ty ret (Fig 4), The barte itself should te flat across all oF the stings, elrectly behind the ' Sih fret. Ths is a G# major chotd, AGH minor chord can be constructed at the same Jocation, using. an E minot shape above the botte al the Ath fret. Use fim, even pressure and do not cleneh your hand. Fig mjor hort Lsomiy For aC minor chord Suppose, net that you are asked to play a C io chor. You khow trom the C sete (Fag [EEE 2} thatthe 3rd fret ofthe A srlng sourids , Jaw C note. Because you are bldg a chort | “FFF fom a root on the A sing, you will choose at aN A ‘ainly (A mind) chord shape, With the “stinger creating a bore ate 31d ret te | 5 © Ye “other tingers form the A minor chord shape |e" 0 hove te bare fig Tis aC nor “chord. For A major tammy barre ehovss ‘The tng finger actualy barres three strings, while the Index tinget provides a bass note dF root note, whieh names the chor. See (ig 6) the Croajor batre chord, for an example of this frily ts helpful to rmiemorize the nares othe notes on the ‘wo lowest strings. a they provide locations for ello the cherds. Using this system, you {in find any major or minor chord you eed, ‘nsmany guitar sivies 15 nat necessary to play all of toe notes of a barre chord, i Instead, focus on the higher of lower notes. Jn many rock styles only the three tow strings are played, usually with amplifier distortion to thicken the sound (Fig 7) tn inary other style, like soft rock, rege, ‘and pop music the higher strings are ‘emphasized Fig 8) The notes of the char ey be sounded fogether (as ia reggae “chop* or “skank” guitar part) or they may be articulated one at a lime fan arpeggiol. ror pet For barre chord variation in (One of the most useful variations of the ‘arte chord is the shulfle rhythm, a versatile rock/biues accompanigtert patie The following, exannpie corresponds to a B flat) barre chard location, using tie E shepe above a ‘th fret hatve Place your left and frst finger at the 6th fret of the low E sting. the nate B° (a fiat is the opposite of a sharp, and indicates that a pitch should be lowered by one ed. Pace the ting finger Of the left hana on the A sting 8th fret Sirike these two stings tutice with the plex. Stretch the 4th finger ofthe fet hard to the tenih fret ofthe A sting whe holding the frst finger on the fow B®, Strike these {wo 9otes twice, then it the ath finger to prepare {or the next two pick Pt strokes. (Fig 9) shows this shuiie move in chord 4 boxes, and it can be moved anywhere on the neck as [ong as your root note ison the £ A. oF D string ‘Thete are many atlier watys in which a hase chord pastion «can he adjusted or altered, creating melodic maticn in the ‘chord progression. Many well known songs from the blues and sock repertoire include slicing chord clusters in the rhythim gultar part (Stormy Monday. Rone Walker/The ‘Allman Brothets; Memphis Fennesee,Chuck Betty Johnny vers: Messing with the Kid, lunior Welle/The Blues Brothers. ‘Another means of creating melodic mation is by adding and removing extra noies against the chord, heard, for example in Pinta Wear by The Who and in Sugar Magnotkr by The Grateful Dead. See Fig 10, p 68, for examples of each of these approzces. Marty ofthe most effecive and interesting 67 “i rhythm guitar parts in popular music incorporate these or jolher modifications of he standard chords. Often this shyihen guitar part becomes the signatute sound of the song lsett, Songs are bulk from sets of chords often bull peimanty from ‘one major scale or key. A chord progression or series of ‘horas may be novel or stock. such as the € majorA minor ‘ajorG major formule which yrs popular in the 1950 Hf we number the steps oF the scale (C mnajon, we can place ‘chords in a key by number. This technique aliaws for the transfer of Information fiom one key’ ta another. I C=1, D2, Ee, ele, the stock progression given above becomes a 1-6-4 5 Jor bvH4V-¥) progression, A variation, the EvFiEY, Is played C ‘major-A mlnor-D mino™G major. In any key, the 4 1, and V ‘hords are major. while the i, and v1 chords are minor {lower case Roman numerals), ‘hese basic tools lend themselves to much variallon often by ‘itching major and minor chords. Try the 2nd progression ‘nity ian A major or D major chord instead of the minor for an ‘example of this kind of sustitution. alternately a chord may be bomowed from another key eriely, ereating mone ‘unexpectec nasnionic motion, Try substituting ah A fat major chord tor the F major chord in the fst (-VH1VA) progression ‘and isten for the ctfevent texture, Broadly speaking. jazz ‘chord progressions switch keys oF borrow across Koys much more offen than do other popular music structures. Controlling sound and sustain o¥ the electric guar white playing chords or melodies is often a question of allowing ‘eta stings to ring out whe muting oF darnping others, To play a lig, percussive chove, the choraing (ef) hand contcls the muting by releasing the pressure from the strings itimediately afer the chore Is saunded. Do not ifthe fingers {for the stings, just release the pressure and the nates wil Guickly dle of This sets up a squeeze sirurmsqueeze-strum paiteyn between the two hands, ana produces a crisp, accurate shyt, The sight hand can also serve as a mute by testing on the stings as tvey are picked. The heel and palm ‘of the picking hand dampens all the sings, a sie of muting used extensively by rock guitarists The pick plays mostly down strokes MELODY, LEAD, AND RiFKS ‘Aside from rhythm playing and chordlnw electicgultanists ane fle expected to play melodies, improvise feds ane in ‘uith short melodie passages called rf, ks, or hreaks. These fun of single notes requite motifty op the ‘ngerboard and ‘ootdination betiveeh the hands, wvith precise picking and ‘ingen, Wh one fingering excercise and few move scales, 4 number ofthese requirements can be developed quickly, 68 Building Mobility ang Technique First try the fingering exercise frequently called the spider, as Itresembles a spider crawling up the gultar neck. Piace your lef hand on the neck about halway up, Spread your fingers Slightly an cover four frets With four fingers. This Is a basic rest postion, Cul the fingers so that all four fingertips are resting on the low E string, each In its own fet. Pless the fist finger down and strike the string with a downstroke. Press the nex! finger down and sirke at upstroke. Press the ting Anger down, strike a down stroke, and finish with the fourth finger and an upstroke, Move to the A string and advance one fret up the neck, repeating the picking pattern. Shit next to the D string. up one frat. and again play the sour note pattern. Continue acioss all six stings i> ¢his manner Remember to always use altemating dawn/up strokes with the pick,

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