Rob's LP Build - "The Dragon"

[Claymore]

Originally Posted by DanielDeGregoriis

Beautiful build, very informative thread! Really cool to see some other ways to tackle some of the build-parts (using a shooting board etc.).

I've got a few questions:



- Did you do this to have a flat base for the inlay to sit on? I had some problems when installing the mop inlays on my build, the curved base was too 'curved' for the inlay.

I will try this on my next build!

- When using a flamed maple binding, is the top of this binding lacquered as well? Or is it sealed by something else?

Thanks in advance,

Daniel

Hi Daniel, thank you for your comments!
The only "serviced" part in this mostly-scratch build was the slotted-radiused FB. as the MOP inlay was flat, I needed a way to keep the dremel perfectly level over the FB, cutting only deep enough so the crown was at the same depth of the inlay. This left about 1/32" proud at each end, which was easily sanded flush.

For the maple binding, when finishing, I will only tape the top of the FB, staying back 1/8" from the edge. I will fret after finish, and after a final leveling of the FB, which will clean up the finish to the edge of the FB.

[DanielDeGregoriis]

Originally Posted by Claymore

Hi Daniel, thank you for your comments!
The only "serviced" part in this mostly-scratch build was the slotted-radiused FB. as the MOP inlay was flat, I needed a way to keep the dremel perfectly level over the FB, cutting only deep enough so the crown was at the same depth of the inlay. This left about 1/32" proud at each end, which was easily sanded flush.

For the maple binding, when finishing, I will only tape the top of the FB, staying back 1/8" from the edge. I will fret after finish, and after a final leveling of the FB, which will clean up the finish to the edge of the FB.

Thanks!

[Claymore]

Begin the neck profiling by cutting straight down, almost to the nut. This will be the limit for chiseling down the sides.

Using a 1" chisel to bring the side of the neck almost flush to the binding.

Planing the sides down to the binding.

Plane both sides just flush to the binding, and square to the bottom.

Draw the neck profile on both sides

Shaping the primary shape of the heel with the spindle sander.

[Claymore]

Bringing the back of the neck down to the profile line with the block plane.

The centerline plane from the first to the 11th fret must be perfectly flat. Once flat, draw the centerline - this must stay visible during the rest of the neck profiling procedure.


The first and 11th fret profiles have been cut with the rasp and the 4-in-hand file. Note the neck profile jig between the files.

Use the rasp and file to join the 1st and 11th fret profiles

Create the neck profile by first creating the primary facet with the rasp at a 45 degree angle as shown, then round over with the 4-in-hand file

The profile between the 1st and 11th frets is established. Do not touch the centerline.

[Claymore]

To shape the heel, first carve the primary facet, then round over with the 4-in-hand file.

The transition between the back of the headstock and the neck has been created, and the centerline drawn. Then draw the carve profile as shown.

First shape the side profile, joining the side of the neck to the side of the headstock.

Then carve the primary facet for the headstock to neck transition.

Primary facets carved. Then round over with the 4-in hand file and a half-round needle file.

The neck profiling is complete.

Test fit looks good - the fingerboard is flush with the cutaway, and the heel is slightly proud - this will be sanded flush after glue-up. The end of the fingerboard just butts into the pickup ring. It was a good day!!

[dickjonesify]

HOLY MACKEREL! What a fast paced, luthier-fueled thrill ride that was!! Thanks for that. It's refreshing to see someone moving at good pace and not taking months between updates! (like mine )
I'm going to employ a lot more sharp planes, chisels and scrapers into my future builds... if I ever get any decent ones. What are some good planes and chisels that aren't crazy expensive?

[dickjonesify]

Also, I can't tell if you got it or not.

On the "lower ears" of the headstock, the transition line from the face to the back of the head should not be perpendicular to the veneer. It should be perpendicular to the face of the fretboard so that it appears slanted back on the head.

If you got it, disregard, but I've seen some people miss it and I think it's an important feature.

Killer job

Here's one of preeb's pics. I think this is the easiest way to do it.

[Claymore]

Originally Posted by dickjonesify

What are some good planes and chisels that aren't crazy expensive?

Thanks for your comments! I had a few weeks of pix saved up....
For chisels - I have an old set of Marples (now Irwin I believe) I keep them crazy sharp on a waterstone combo. Work fine for me - and not expensive. I do have one 3/4" LMI chisel that was a bit pricey, but it is used mainly for carving braces. As far as planes go - I have a stack of cheap planes destined for the trash (footprint, stanley). When I got my first Veritas plane the pain in my wallet was replaced by a huge grin....well worth the $....
Thanks for the tip on the angle on the side of the headstock - good catch, I definitely missed that one - perfect timing, easy fix.

Cheers!

Rob

[Barnaby]

Thanks for the pictures of the double-action truss rod installation. I have been wondering exactly how to do this and now I know.

You're the man!

[Claymore]

Originally Posted by Barnaby

Thanks for the pictures of the double-action truss rod installation. I have been wondering exactly how to do this and now I know.

You're the man!

You gonna fire up the forge and pound one out?
Been watching your hand-tools only build - Bravo!

[Barnaby]

Originally Posted by Claymore

You gonna fire up the forge and pound one out?
Been watching your hand-tools only build - Bravo!

Cheers!

I wimped out and bought one from StewMac this time. I may, however, have to look into making one in the future. Darned if I know how to machine brass and steel accurately with hand tools...reckon an eggbeater drill could get through it?

I guess you'll be using a three-hole truss rod cover. Will you widen the slot or leave it as it is?

I'm tempted to put a very short maple filler over the end of mine under the nut and extending a short way into the headstock so that I can have a two-screw version. Thinking about how to do it now...

Thanks again for the level of detail in this build. It's incredibly helpful.

[emoney]

Man, awesome work so far!! Super thread with tons of detailed explanation. Thanks for
that.

I can see the patience in your writing/posting, so I look forward to seeing the end-result.

[Claymore]

Originally Posted by Barnaby

Cheers!

I wimped out and bought one from StewMac this time. I may, however, have to look into making one in the future. Darned if I know how to machine brass and steel accurately with hand tools...reckon an eggbeater drill could get through it?

I guess you'll be using a three-hole truss rod cover. Will you widen the slot or leave it as it is?

I'm tempted to put a very short maple filler over the end of mine under the nut and extending a short way into the headstock so that I can have a two-screw version. Thinking about how to do it now...

Thanks again for the level of detail in this build. It's incredibly helpful.

Thanks Barnaby! I am glad you have found my adventure useful... Still thinking about the truss-rod detail - Also thought about the short billet, may do just that when I get to it. Thanks!

[Claymore]

Originally Posted by emoney

Man, awesome work so far!! Super thread with tons of detailed explanation. Thanks for
that.

I can see the patience in your writing/posting, so I look forward to seeing the end-result.

Thank you for your comments, glad you have enjoyed the journey so far - it has been a blast! Gonna attach the neck shortly, then on to uncharted territory. I am only set up to spray WB finish, so am planning to do a rubbed burst with WB aniline dyes (per the Condino tutorial) Luckily I have another set of maple to test on...

['59_Standard]

Is that an 8" or 10" 4 in 1 rasp, Rob?

Do you normally use LMI glue?

[Claymore]

Originally Posted by '59_Standard

Is that an 8" or 10" 4 in 1 rasp, Rob?

Do you normally use LMI glue?

The 9" 4-in-hand is a Lee Valley tool #62W09.01. It is my favorite tool for shaping neck profiles, although I just use the file portion - I use the big rasp for hogging out material....
And yes, I use the LMI white for almost everything - dries clear and hard.

['59_Standard]

Originally Posted by Claymore

The 9" 4-in-hand is a Lee Valley tool #62W09.01. It is my favorite tool for shaping neck profiles, although I just use the file portion - I use the big rasp for hogging out material....
And yes, I use the LMI white for almost everything - dries clear and hard.

How typical is that -being a 9" in-betweeny! I thought it was a Nicholson model. Doh!

Thanks.

[dickjonesify]

Originally Posted by Claymore

I have a stack of cheap planes destined for the trash (footprint, stanley)

On the way to their destiny, they could come to my house... so I could see what you mean, of course!

[SasquatchPlatypus]

I love your shooting board and jointing jig - sorry bro, I'll be stealing those for my shop!! =) Also, that's a cool idea for the fretboard inlay jig. One thing that drove me nuts on my fretboard is that I cut the inlay channels with a stewmac dremel router base against a radiused fretboard, using no such jig. It comes out nice, except that the bottom of the inlay cavities are parallel to the surface of the fretboard, therefore have that same 12" radius. So now you're trying to glue a flat inlay into a radiused hole. If you don't curve it slightly (which I didn't) or really press it in there, on the higher frets where the inlay is wider, I found I would actually completely sand through the inlay corners so the nice rectangular block would become an octagon or parallelogram. By the time I had all that work in the fretboard, I thought screw it, no one will notice it but me and other crazy builders. I think your method really eliminates a lot of that problem though because if your inlay is going to sand through, you could see it and fix it during the routing stage and not during the sanding stage!! I like it!!

[Claymore]

Originally Posted by dickjonesify

On the way to their destiny, they could come to my house... so I could see what you mean, of course!

If shipping from the great white north wasn't an issue - I would gladly ship them to you gratis....! Just a couple of useless block planes....

[Claymore]

Originally Posted by SasquatchPlatypus

I love your shooting board and jointing jig - sorry bro, I'll be stealing those for my shop!! =) Also, that's a cool idea for the fretboard inlay jig. One thing that drove me nuts on my fretboard is that I cut the inlay channels with a stewmac dremel router base against a radiused fretboard, using no such jig. It comes out nice, except that the bottom of the inlay cavities are parallel to the surface of the fretboard, therefore have that same 12" radius. So now you're trying to glue a flat inlay into a radiused hole. If you don't curve it slightly (which I didn't) or really press it in there, on the higher frets where the inlay is wider, I found I would actually completely sand through the inlay corners so the nice rectangular block would become an octagon or parallelogram. By the time I had all that work in the fretboard, I thought screw it, no one will notice it but me and other crazy builders. I think your method really eliminates a lot of that problem though because if your inlay is going to sand through, you could see it and fix it during the routing stage and not during the sanding stage!! I like it!!

I am grateful you were able to find something useful from my posts. Glad to share! The shooting jig is amazing for joining plates, as you can imagine....I just need a 5-1/2 bench plane now....really I do.....

[Claymore]

Originally Posted by dickjonesify

Also, I can't tell if you got it or not.

On the "lower ears" of the headstock, the transition line from the face to the back of the head should not be perpendicular to the veneer. It should be perpendicular to the face of the fretboard so that it appears slanted back on the head.
If you got it, disregard, but I've seen some people miss it and I think it's an important feature.

Jonesify - thanks again for pointing out the headstock detail - was able to fix it up in a jiffy:

[Claymore]

After a final cleanup and test fit, the neck is now married forever to the body....may their union be long and fruitful.....

[Claymore]

In order to do the secondary route on the inside of the control cavity, I needed to remove the tailpiece bushing to remove the ground wire. (doh!) To remove the bushing, I first inserted a 3/4" length of 1/4" bar, then screwed the stud in.

The bushing popped right out....

As I do not have the means to route the secondary route inside the control cavity, I used a 1" forstner bit to create the inside angle for the pots to roughly match that of the top. The slide protractor is set to the target angle, with reference lines drawn square to the blade to help align the drill shaft. 6.5 degrees looked about right.
This was a bit nerve-wracking - imagining the bit catching and auguring straight through the top...

Turned out just fine. The switch cavity was done in the same way, using a 4.5 degree angle.

To locate the bridge, I first marked the centerline using the sides of the fretboard as reference. This was a reference check - turned out dead nuts to the centerline of the top...ya!

This is used to set the bridge location. The small block is adjustable; on the bottom is a groove that sits over the 12th fret. To use it, place the small block over the 12th fret, adjust the rod so the large block butts into the nut, then tighten the set screw. Turn it around on the 12th fret, and the outside edge of the large block is the nominal scale length. The screws are set for the desired compensation (and set the bridge angle).

First, a short piece of fret with the tangs filed off is placed at the 12th fret.

After setting the distance from the 12th fret to the nut, the device is turned around and set back on the 12th fret. The bridge compensation is set by the inside edge of the screw heads, which are 2/32" and 5/32" from the edge of the UHMW (nominal scale length). Mark with an awl and drill - for these bushings I used a 7/16" brad-point bit and drilled to a depth of 0.91"

Time to start playing with the burst. I found an old scrap piece of maple to test with. Using WB Aniline Dye; Yellow, Amber and Brown. After wetting the surface, I started with yellow over the full surface, then 2/3 with the amber, then 1/3 with the brown - keeping the surface damp throughout and blending with straight water after rubbing in the dye. Seemed to blend in pretty nice...Will try a few more combos before I go wild on the Dragon - I am sure I have a few more scrap pieces of maple kicking around....

[dickjonesify]

The flaaaames!! Oh the FLAAAAAAAAMES!! Great work. That top is gonna be smokin'!

...and excellent save. Glad I could help.

[GammyBird]

The top on that is going to be awesome!!

[fletch123]

Fantastic build ! Thanks for posting all of the tiny details like angles and depths, they are VERY useful to me.

[Mookakian]

[Exile]

This is truly fantastic, superb skills and the amount of information is just awesome. Being new to this forum and setting up for my own build, I cannot tell you just how useful your detailed thread is, also love the different jigs! Being a Carpenter here in the UK I was always taught that good preparation was the fundamental difference between success and failure, your posts prove the point beyond question. Excellent work can't wait for the next installment.

Regards

Jon

[fatdaddypreacher]

claymore, i feel like a starving kid in a candy store. i try to discipline myself to not visit too many different threads and loose valuable building time(which for me is quite limited for now), and then i click on to yours just now. WOW. another spectacular build thread with excellant work. i'm on my fretboard now and have received new confidence after viewing your work and approach to it. thanks. i guess you have become one more distraction---shame on you! great work. love the headstock inlay, too. reminds me of someone i know(it's ok, she only reads what i show her)