Rebuild: Update 8

Some fretwork updates to present. The process is virtually the same as before, with only a few differences which I will highlight in this post. 

Beginning where I left off from Update 7, I first used my 35 degree file block from Update 12 from 2010 to bevel the ends of the frets. It is a loud and barbaric process, often shocking onlookers. However, with a delicate hand, the destructive might of the bastard file can be tamed, and used for good rather than evil. I beveled the metal until the cream fretboard binding just gets grazed by the file. With this done, the frets now need dressed, for they are naked and unlevel.

I used my homemade fretboard level to check for a flat neck. If I see light shining between the aluminum level and the rosewood fretboard in the middle, I know the neck has a slight up-bow. Tightening the truss rod will straighten the up-bow. Too much, however, will lead to a back-bow. I was worried the neck, without strings and a completely loose truss rod, had a back bow. This would make fret leveling difficult/impossible without some sort of jig. Fortunately, the neck had a slight up-bow and straightened with one or two truss rod quarter turns. I glued more 400 grit sandpaper to the same block of aluminum as before, and did an initial leveling of the frets. I did this until all frets get some contact with the 400 grit. I used a Sharpie as before to see which frets are being sanded. Now onto some new stuff...

I figured since I have a second chance to fret this guitar, I may as well one-up my previous work. The frets weren't bad before, but some fret buzz showed they needed a little more work. The neck of this guitar is quite long (neck/body joint is at the 19th fret) so it is, I assume, more susceptible to string tension induced neck warping. This is were neck jigs like the Erlewine jig and machines such as the PLEK machine come in handy. They allow the frets to be leveled properly with the strings tensioned. Thus, slight neck warping and fret height variations can be leveled. I do not have any of these, so I thought I'd figure something out on my own. 

I first determined the string tension the neck faces tuned to standard tuning with 10 gauge strings. This is roughly 120lbs of force (~20 per string...). I planned to simulate this string tension with only 5 strings, meaning each string needs to exert ~24 lbs of force to equate to 120lbs. Tuning all 5 strings up 1 semitone equates to something like 115 lbs (I lost my calculated values). This is close enough for my purposes. I would use the stringless channel of fretboard to level with the aluminum block.

 Yay, pictures. I string up the guitar with five strings tuned up 1 semitone (G to Gsharp, etc). Check for a level fretboard, then sand with the aluminum block. I'd take the next string off, add the previous, and repeat until all Sharpie is removed. There really wasn't much sanding too be done. This tells me the neck doesn't change much with tension.

I unstrung the guitar, taped the fretboard, and re-Sharpied the frets. 

 Frets are freshly fashioned with felt-tipped marker. The leveled plateaus will need re-rounded with the rest of the fret. This is where the Stew Mac fret file comes in handy. I filed each fret until only a sliver of marker remain.

I found a square, 3 sided file (i.e. one side is smooth) in my garage. This is perfect for rounding fret ends. A few passes smooth them out. 

The frets can now be sanded and polished. I used the following steps: 400 grit dry, 600 grit dry, 600 grit wet, 1000 grit wet, 2000 grit wet, 0000 steel wool, polishing compound w/Dremel pad. On each fret. The picture above shows pre steel wool (right) and post steel wool and Dremel (left). 

***VERY IMPORTANT NOTE: 

For those who are actually reading this. Buffing the frets with a Dremel induces loads of heat if done for even a few seconds. I found out quickly that this wasn't a good thing once I started. I began Dremel-ing my first fret to a shine (20th fret) only to see it got too hot touch and began pulling away from the fretboard. I muttered a panicked "oh shit" under my breath. The heat melted the glue on the fret, and it began coming loose. I pressed it down with a block of wood and squirted a little more superglue under the fret. It dried and the fret didn't budge anymore. Luckily, the fret leveling wasn't affected at all. Crisis averted. 

My solution to this was to use 0000 steel wool followed by a very brief buffing on the fret ends and fret tops. I mean very very very brief. Just a quick touch to smooth out any little imperfections.

 Nice and shiny once again. Taped being removed.

All done. This picture is kind of pointless. It doesn't really show anything, but whatever.

Shing. Sparkle, Sparkle.

Only had one fret that didn't seat 100%. The only result of this was more sanding off of its top. Not even noticeable.

Fretwork is such a worthwhile task that is really enjoyable. A new and shiny set of frets can make any guitar look loads better. 

Next step would be prepping for pore-filling and finishing. huzzah. 

I leave you with what NOT to do while fretting a guitar.

I'm serious. His lack of precision and care for the fretboard is scary. Not to mention his nasal whistling. Do not do anything he does.

Oh god. Why. WHY.

-A

Rebuild: Update 7

I began the fretwork recently. Here's the steps:

 

 The binding on the fretboard needed patched. I used scrap binding and binding glue to patch the spot, and it turned out seamless. The woodwork done around this 'extension' of the bottom 4 frets is actually better than the original work. It looks great.

I sanded down the fretboard with 220, 400, 600, and 1000 grit sandpaper. Despite the slight glare, the rosewood fretboard displayed it's excellent, purple figure that has been hidden under finger grease and grime.

 

Seamless. Like it was never butchered.

Using the modified Husky cutters, I cut the fretwire to length for each fret.

 Cut wire.

 The Husky cutters were dull and couldn't cut the fret tang. I gave up very quickly with them and finally caved and ordered Stew-Mac's fret cutters and a medium/wide fret crowning file. My last fret job with this guitar took quite a long time with only a triangular file and sandpaper. The file should make the job take seconds rather than 15 minutes per fret. Regular super glue was used to hold the frets in considering this is a re-fret. The hammer is a nylon/rubber hammer from Home deux Pot.

 The frets initially pounded in. I used the nylon hammer for seating, and a few light, quick taps with a steel hammer (carefully). Before each fret was seated, I put a small line of glue on the fret wire. But even before that...

 ...I bent this scrap fret wire and filed the tang 'teeth' off. This was used to test each fret slot for obstructions by sliding it along the slot. Notice the nipped fret tang and the 45 degree angle at the end of the tang. This allows the fret to seat more completely. (The glob of binding on the fretboard is from the patch. The patch before shrank so I had to add more glue).

 I could just level the frets without assuring a flat neck. Results would be acceptable, but I'd rather make sure the neck was as straight as possible before leveling. I bought a 1.5" x 1/8" aluminum blank for $8 from the H.D. I marked the frets and used a triangular file to cut slots in the metal. The straightedge can now be used to assure the neck is straight, even with the frets on.

Straightedge on fretboard. Notice the trimmed and beveled frets.

 Not bad. Will be useful.

The fretboard is essentially completely flat without any strings nor a tightened truss rod. I will do a preliminary leveling without any strings, then I will put on 5 strings, tuned up a half step, and tighten the truss rod accordingly. With the neck as flat as possible, I will re-level the frets along the stringless segment of fretboard. This will be repeated for each string. The material removed during the stringed leveling will be minimal, but this is what levels the frets to a degree most optimal for playing. There are jigs (Erlewine jig) and machines (PLEK) that do this more efficiently, but I'm not too enthusiastic on making the investment for a proper jig. The half step up tuning is required to keep the tension on the neck the same for 5 strings as it is for 6. Not the best method, but it should give a more positive result, rather a negative.

 Enjoy

-Andrew

Rebuild: Update 6

With the neck properly glued in place, I began shaping the bottom fretboard portion. This was tricky due to the small size of the mahogany 'wings' that need to be made. I first obtained a scrap piece of mahogany from the original neck blank. Using a jewelers' saw, I cut a long, thin piece at roughly the shape of the wings.

The piece was cut in half and placed on either side of the tenon. To the right is a scrapped piece I cut too thin.

I held the pieces down in place against the walnut. A piece of sandpaper in between shaped the pieces to the very slight contour of the the walnut top. The same was done to the end faces in contact with the rest of the mahogany neck. At this point, I tacked the pieces to the top using very small drops of wood glue.

 Obviously some trimming needs to be done. 

 With a 3/8" chisel, a rasp and file, I trimmed the pieces to the proper height so the fretboard segment sat flush with the 'wings' and the neck tenon.

 The fretboard now sits flat. The mahogany wings still need their outside edges trimmed flush with the binding.

It took a few days of planning to establish a procedure that would yield accurate, sexy results. The above steps are aimed towards thicknessing the 'wings' to the proper fretboard height, while everything below is aimed towards trimming and finishing them to the profile of the fretboard.

 I pried the wings off of the walnut top with ease and placed a few slips of paper between. These were used so the little wings would be held slightly above the tenon, and clamping force would be targeted to the wings only. Glue was applied and the fretboard was adhered.

Fretboard segment can fly now. 

The transition down the fretboard is seamless. I used the same chisel, rasp, and file as before and brought the adorable little bits of mahogany down to size. The little 'step' of glue and lacquer covered mahogany tenon at the end of the fretboard was trimmed down later.

 Prepping for hide gluing. Kept the glue fresh from before in the fridge.

 With everything shaped properly, I used a radius sanding block as a clamping caul to apply even pressure to the fretboard. I'll leave it clamped overnight. Then I will clean any glue that oozed out and contemplate the complete refret that lies in my future.

Thus marks the end of the neck reset. Everything after now will only be fretting and finishing.

-Alfred

Rebuild: Update 5

Another month has passed. Nothing spectacular done, only some lacquer removal and a neck gluing.

 Checking the angle before gluing. All looks good. There is no more lacquer on the neck.

 Mixed hide glue overnight. 

 Heated to 61C (~145F) using double boiler mason jar and multimeter thermometer

 Prepping the joint. Dollar store brush.

 Using an ancient hair dryer, I preheat the mortise/tenon.

And in a frustrating blur of hand movements, I nervously glued the neck back on the guitar. 

I've tested the new angle again afterwards with the high/low E strings. Everything looks great. 

Next step would be to cut out two little 'wings' of mahogany to be glued at the top removed fretboard. After leveling the area, the fretboard segment can be reglued, re-radiused and leveled, and refretted. That would be it for wood working. Grain/pore filling and finishing would be the final step. 

-Andy

Rebuild: Update 4

Well it's been over a month. Here's what I've done since last.

One thing that occurred during neck removal was warping in the last bit of fretboard that I took off. The swelling laminate wood around the mortise pushed up on the piece, resulting in the top of the fretboard piece becoming almost completely flat. It's hard to explain the exact shape it was in. Regardless, the piece could not have been glued back in the state it was. I employed a pot of shallow, boiling water and a cookie cutter to heat and moisten the piece in preparation for re-bending.

Heat and moisture softens the misshapen fretboard. It was later clamped into shape using a vise and shims.

Some neck work was done, including removing 75% of its finish (using only 150 grit sandpaper). I took great care in monitoring lacquer removal, for such low grit sandpaper could remove noticeable amounts of wood if one doesn't pay close attention. Since I am keeping the binding on the neck, I couldn't have used acetone for removal.

Finished removed, except for peghead. Notice the bottom maple shim and the properly shaped fretboard piece.

I used superglue and rosewood shavings to fill in my drilled steam holes and chips from fret removal, which I continued to do for the entirety of the fretboard. 

Using a filed soldering iron tip, I heated each fret before removal with my modified fret nippers. 

All off. Some big chipouts were superglued back in place.

Steam holes mostly filled. Keep in mind the new frets will cover any small chips. Once I re-sand the fretboard, it should look great.

From StewMac, I received a new quart of Behlen's Nitrocellulose Stringed Instrument Lacquer, med/med fretwire, 0.060"/0.25" creme binding, and a grain filler squeegee. I began with the new binding, gluing it into the cleaned binding channel using the acetone glue like before. Removing the tape after the glue dries, gives this.

Glued binding. 

Much easier than last time, when I used 0.090" thick binding instead of this 0.060". With a burnished razor and X-acto knife blade, I scraped the binding flush with the body. The little material removed also ensured even binding thickness throughout. I filled any gaps between the binding and the wood with the acetone glue. 

The curved X-acto blade allowed me to scraped the binding so it didn't slope near the edges, resulting in a nice 90 degree edge.

Looking good. The binding end on the bottom right is angled to compensate for the weird curve in the neck joint I explained in the previous post.

Through all the steaming and moisture, the neck joint dried in a way that there was slight wobble when the neck was placed. I added a mahogany shim on the side of the tenon so it fit snug.

Mahogany shim made from a few block plane shavings. The imperfections at the bottom of the neck is from a mistake I made during initial shaping years ago (it's hardly noticeable with a finish on).

The neck is ready to be glued in, so expect that in the next post. The peghead lacquer will be off as well. I'll probably, by the next post, have the fretboard piece also glued in. Who knows. 

-Andrew

Rebuild: Update 3

I've gotten a lot accomplished since the last post.

After shimming the bottom of the tenon, I needed to fix the angles of the other flat surfaces on the neck. I began first by making sure the flat joint surface on the body was as flat as could be. It should already be flat, but through the neck removal process, some material was removed and there were some cuts affecting the level. I used a file and a chisel to do this work. Not much was needed to be changed. I started filing the neck surfaces to bring the angle at the neck/body connection to zero (i.e. a flush seam). Doing so brought up a problem. The neck's curve as you move up away from the joint causes another curve to emerge as material is removed. This picture should help clear things up.

 The maple tenon shim is visible. The surface perpendicular to the tenon is being filed, removing most material from the top flat area. As the surface is filed (going into the picture), a curve emerges, shown next to the black line. 

This could be a problem if I were to continue. The connecting portion of the body wouldn't have the same curve. It would look goofy and would be hard to fix. Instead, I stopped adjusting the neck surfaces and added tiny shims on the body surface, shown below.

The body neck joint. Maple and walnut shims added to fill the areas created from changing the neck angle.

I glued the shims in and used the following method to bring the surfaces flush (from StewMac):

http://www.stewmac.com/freeinfo/Neck_relief,_building_and_repair/i-5763.html

The result is rather impressive, considering the size of the walnut shim.

Neck/body joint. The maple and walnut shims are visible. The seam is flush. The new binding will also help to make the seam even more fluid in transitioning to the neck.

With the neck angle fixed, I moved onto more barbaric repairs that needed to be addressed. These are, of course, removing the finish and binding. I don't have much on the finish removal process, but here are my steps.

For removing a nitrocellulose lacquer finish (expect binding damage):

1. Setup a work place with funky music playing and a chair in which to sit. 

2. Use a piece of cardboard as a work surface.

3. Obtain a can of Acetone from ye' locale hardware shoppe, along with plenty of spare rags, latex gloves (most other types will melt), and safety goggles.  

4. Place instrument on cardboard surface, and use your gloved index finger to regulate a dripping stream from the inverted can of Acetone onto the lacquer surface, making a reasonable puddle about 4" in diameter.

5. Wait 2 minutes, adding more drops in case the Acetone evaporates too quickly.

6. Use a folded rag to forcefully wipe the puddle up. If done properly, all the lacquer in the area should be removed, right down to the wood, in one wipe. 

7. Continue. I've found this to be the best method for the top surfaces.

8. For the sides, make a few attempts at the above method. It may work here and there, but most of the time it'll just run everywhere and you'll get frustrated and you'll go blame a relative for all the problems that have occurred in your life. I found just soaking the hell out of a small rag and wiping it down, repeating until all the wood is visible, works well for small surfaces.

It may not be the best, but it's what I did, and I got great results in under 6 hours of work over two days for just the body.

Finish removed, guitar naked. I've had a few people by now tell me to just stop messing with this guitar, it was fine before. I am, however, insane and have little else to do. 

As you can see, some binding has been removed. I have about 90% of the body binding off by now. It basically peels right off, with the exception of some areas tearing the side walnut off. I will have to fill those areas where this has occurred. I made sure all lacquer was removed where the binding meets the wood before trying to rip it off.

I will remove the rest of the binding and do some touch up work in the binding channel. This includes removing any binding glue (with acetone), squaring or rounding certain sections, and filling tear outs where they have occurred. By then it will be ready for new binding (StewMac 0.060"x0.25" cream). Until they are shipped, I will strip the neck lacquer and remove all the frets. After the new binding is installed, I can glue in the neck. 

That's all. 

Bye.

-A

Rebuild: Update 2

I began work on adjusting the neck tenon to achieve a proper neck angle. This was accomplished by manufacturing a precise wooden shim to place on the back side of the neck tenon. For the shim, I needed to use a hardwood to preserve the rigidity of the mortise/tenon connection. Since the tenon is mahogany and the mortise is maple, I would assume to use one of these. I chose to use some left over maple veneer for the shim. It was already thicknessed to 1/16", so all I'd need to do is taper a small piece that is profiled to the shape of the tenon. I did so against some sandpaper.

Maple shim tapered from 1/16" to 0", ~3" long.

To assure the shim brought the neck angle to the proper position, I loosely placed it under the tenon and used a C clamp to hold the neck in the mortise. I strung the high and low E strings to observe the action. Here's my setup:

C clamp temporary setup

The shim will need final shaping to assure the tenon and mortise sitting flush. Otherwise, the neck angle seems perfect. The bridge sits a little high, but I assume after applying full string tension, the neck will pull forward slightly and I can lower the bridge just a bit. It isn't hilariously high. Below are some pics.

Down neck view with new neck angle and action. Looking good so far.

The string elevation looks much better. The string angle from the bridge to the stopbar should apply more pressure to the body, increasing sustain and tone while reducing buzz at the bridge. 

Next step is to glue the shim to the tenon, use graphite coated paper to find high spots on the shim. After leveling the shim, I will tidy up the surrounding neck surfaces around the joint. It will be ready for gluing. Before this, however, I'll need to strip the finish and do binding work.

Updates soon.

-Mr. B