Posts Tagged ‘ custom ’

Inlay material, side marker special

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K) BEST VALUE! (VARIETY 8 PACK) 7″ rods.

4 of the 3/32″ (2 black, 2 white)

4 of the 1/16″ (2 black, 2 white)

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Stage 18) Final sanding.

I like to use slightly worn 150 grit 3M sand paper to sand all sharp corners on the headstock and heel of the neck. Then the back of the neck and top face of the headstock. Use your hand so you can get a feel for the surface of the wood. Try using a sanding sponge block on the edges if over 150 grit. When the neck feels and looks scratch free, the neck is ready for finishing.

Stage 17) Drilling the tuner holes.

Using a template with the center lines for the tuner key locations, pencil the center point of the holes onto the headstock. Next, set up the drill press with the recommended drill bit for the tuners recommend size. Make sure to use a brad point drill bit to get the cleanest cut at the top face and back of the hole. Next, we need to have a backing plate of wood to put behind the headstock so the drill bit does not tear out the grain on the back side of the headstock. After all holes are drilled, block sand top and back with 150 grit 3M sanding paper.

Stage 16) Nut work

Check out the video below to get all the details on stage 17.



WATCH SAMPLE HERE!

Nut Making
Watch as a nut is processed and shaped from a bone blank to a semi-gloss nut.

Stage 15) Fretting the neck

Get this portion of the instructional below.

WATCH SAMPLE HERE!

Fretting Necks: LEARN THE TECHNIQUES INVOLVED in FRET BENDING, CUTTING, INSTALLING, SHAPING,
BRINGING FINISHED FRETS TO A HIGH LUSTER AND MORE AT JCS MUSICAL
INSTRUMENTS.

Stage 14) Inlay work (fretboard and side marker)

Supplies needed: .5mm mechanical pencil, ruler and some extra things in the video.

Purchase Inlay Work at jcsmi.com


INLAY WORK AT jcsmi.com: JCS MUSICAL INSTRUMENTS instructional. Learn the techniques involved in FRET & SIDE MARKER INLAY & more!

Check out some of the work at JCSMI below:

http://gallery.me.com/jcsmi#100093&bgcolor=black&view=grid

http://gallery.me.com/jcsmi

Stage 13) headstock work

For the advanced technique in lowering the headstock to the desired thickness, check out the ebook Building Necks at jcsmi.com
Using the band saw in conjunction with the fence, set the thickness just over the headstock thickness. Advance the headstock with the back of the headstock sliding flush to the fence. Stop the cut with room to intersect the cut with another angular cut. Make sure to leave enough room to spindle sand a transition to the new face of the headstock.
Block sand top face of headstock with respective sandpaper starting with 60 grit and ending up with 150 grit.

Stage 12) Fretboard radius shaping

The next step is adding the radius to the fretboard. We need to use the drum sander to bring the neck down to the desired thickness. I use 1 inch from the back of the neck to the top of the fretboard. Now we will need plenty of chalk, in a variety of color. The reason for this is my use of multiple colors of fretboard also neck materials. Chalk is applied after every pass on in the sanding and machining process so you can never have enough. a radius gauge and a belt sander. Start by carefully removing wood from both sides of the fretboard and check the surface the radius gauge often. Apply more chalk on the fretboard as the belt sender removes the wood. Rock the neck back and forth over the belt sander trying to keep from removing the wood at the centerline. Using the radius block and 60 grit paper, bring the radius to match the radius template. When matching the radius, use a sanding pad approximately 3/8ths thick in your palm and rub 80 grit up and down the fretboard till smooth.